CV
Education
  • 2018 PhD, Computer Music and Multimedia, Brown University, Providence
  • 2016 AM, Modern Culture and Media, Brown University, Providence
  • 2006 MSc, Art & Technology, Chalmers tekniska högskola, Göteborg, Sweden
  • 2002 BA, Computer Science, Columbia University, New York
Academic Positions
  • 2023–0000 Assistant Professor of Art, Amherst College, Massachusetts
  • 2019–2022 Assistant Professor of Art, Lewis & Clark College, Portland
  • 2018–2019 Mellon Associate Research Scholar, Columbia University GSAPP, New York
  • 2012–2015 Critic, Rhode Island School of Design, Providence
Selected Non-Academic Positions
  • 2013–2015 Sound Recordist, Okavango Wilderness Project, National Geographic, Botswana
  • 2010–2012 Creative Technologist, Research & Development, The New York Times, New York
  • 2007–2010 Director of Creative Technology, Local Projects, New York
  • 2003–2006 Co-Founder, Yellow Arrow, New York
Solo Exhibitions
  • 2022 Macrophones, Knight Campus for Accelerating Scientific Impact, University of Oregon
  • 2021 Terminal Moraine, Brooklyn Botanic Garden, New York (w/ Ben Rubin)
  • 2018 Fascists, Lovers, and Other Lonely Ghosts, Granoff Center for the Creative Arts, Providence
  • 2012 Quotidian Record, Eyebeam, New York
  • 2009 Engagement Party, Museum of Contemporary Art (MOCA), Los Angeles (w/ Sue Huang)
  • 2006 5 ‘til 12, Beall Center for Art and Technology, Irvine (w/ Sue Huang)

Selected Group Exhibitions
  • 2024 Musikfestival, Bern, Switzerland (w/ Annie Aries and Marcel Zaes)
  • 2024 Everywhen, International Symposium on Electronic Art (ISEA), Brisbane, Australia
  • 2023 The Sound of Changes, International Computer Music Conference (ICMC), Shenzhen, China
  • 2022 New York City Electroacoustic Music Festival, New York
  • 2022 Port Futures & Social Logistics, The University of Georgia, Athens
  • 2022 Desbosque, Museo de Arte Contemporáneo, Lima, Perú (w/ FIBRA)
  • 2021 Displacements, Gray Area, San Francisco (w/ Annie Aries and Marcel Zaes)
  • 2021 A (Post-) Pandemic Practice, Swissnex, San Francisco (w/ Annie Aries and Marcel Zaes)
  • 2019 Submerge, Science Gallery, Bengaluru, India
  • 2019 ...And Other Such Stories, Chicago Architecture Biennial, Chicago (w/ Center for Spatial Research)
  • 2019 Creature: When Species Meet, Contemporary Art Center, Cincinnati
  • 2019 MediaLive: Subterranean, Museum of Contemporary Art, Boulder
  • 2019 Collective Action Archive: Redux, Franklin Street Works, Stamford (w/ Sue Huang)
  • 2019 Multispecies Storytelling, Linnaeus University, Växjö, Sweden
  • 2018 Watershed, University of the Witwatersrand, Johannesburg, South Africa
  • 2018 Fak'ugesi Digital Innovation Festival, Johannesburg, South Africa
  • 2018 Metsikud Bitid, Maajaam, Otepää, Estonia
  • 2018 Trans Utopias. Mobility. Movement. Mobilization, CentroCentro Cultural Centre, Madrid, Spain
  • 2018 Intersections, International Symposium on Electronic Art (ISEA), Durban, South Africa
  • 2017 Feminist Climate Change, Ars Electronica, Linz, Austria (w/ Sue Huang)
  • 2017 Megapolis Audio Art Festival, Philadelphia
  • 2017 Land Trust, Redline Gallery, Denver
  • 2017 Storm Warning, Vicki Myhren Gallery (University of Denver), Denver
  • 2017 Ever Elusive, Transmediale, Berlin, Germany
  • 2016 The Spaces We're In, NEoN Digital Arts, Dundee, Scotland (w/ Sue Huang)
  • 2016 Reality Under Surveillance, Speculum Artium, Trbovlje, Slovenia
  • 2016 Acoustic Infrastructures, Eyebeam, New York
  • 2016 Atmospheres, Granoff Center for the Creative Arts, Providence
  • 2015 Take Karaoke / Fight Logic, Cohen Gallery, Providence
  • 2015 Infosphere, ZKM, Karlsruhe, Germany
  • 2015 Eyebeam in Objects, Upfor Gallery, Portland
  • 2015 Captive Portal, Center for Contemporary Art, Tel Aviv, Israel
  • 2015 New Aesthetic?, Queensland University of Technology, Brisbane, Australia
  • 2015 Art of Self-Tracking, Quantified Self Expo, San Francisco
  • 2015 Lifelogging, Science Gallery, Dublin, Ireland
  • 2015 Ampersand, MIT List Visual Arts Center, Cambridge
  • 2015 From Field Recording to Data Sonification in Late Capitalism, Labor Neunzehn, Berlin, Germany
  • 2014 Wetland, Schuylkill Center, Philadelphia
  • 2014 Data & Society, Rubin Museum, New York
  • 2014 Pale Firework, Gelman Gallery, Providence
  • 2014 NIME, London, UK
  • 2014 Imprint of the City, Issue Project Room, New York
  • 2014 Print Screen, Mediatheque, Holon, Israel
  • 2014 Buildering: Misbehaving The City, Contemporary Arts Center, Cincinnati (w/ Sue Huang)
  • 2014 Biennial Symposium, Ammerman Center for Arts and Technology, New London
  • 2013 Total Recall, Ars Electronica, Linz, Austria
  • 2013 Neuromast: Certain Uncertainty and Contemporary Art, Franklin Street Works, Stamford
  • 2013 Under the Influence, Gelman Gallery, Providence (w/ Kyle McDonald)
  • 2013 PRISM Breakup, Eyebeam, New York (w/ Kyle McDonald)
  • 2013 Where are We Now?, The Collection Lincoln & Usher Gallery, Lincolnshire, UK
  • 2013 iNTERFACES, Black & White Festival, Porto, Portugal
  • 2013 Megapolis Audio Art Festival, New York
  • 2013 New York City Electroacoustic Music Festival, New York
  • 2013 Binary, Largo Das Artes, Rio de Janeiro, Brazil
  • 2013 Habits of Living, Granoff Center for the Creative Arts, Providence
  • 2013 Annual Showcase, Eyebeam, New York
  • 2012 Forty-eight to Sixteen, Eyebeam, New York
  • 2012 Infinitely Poignant Future Pastness, Brown University, Providence
  • 2012 Conflux Festival, New York
  • 2012 DataVis: Information as Art, Beall Center for Art and Technology, Irvine
  • 2012 urbanoFILM Festival, Stuttgart, Germany
  • 2011 Klein Kunst Party, Platoon Kunsthalle, Seoul, South Korea (w/ Topu Lyo and Mike Thies)
  • 2010 Relay Drawing, Los Angeles Contemporary Exhibitions, Los Angeles (w/ Sue Huang)
  • 2010 Live Footage, Monkeytown, New York (w/ Topu Lyo and Mike Thies)
  • 2010 Megapolis Audio Art Festival, Baltimore
  • 2008 Rhizome Commissions, New Museum of Contemporary Art, New York (w/ Sue Huang)
  • 2008 Conflux Festival, Center for Architecture, New York
  • 2008 FILMOBILE, London Gallery West, London, UK (w/ Sue Huang)
  • 2008 Design and the Elastic Mind, Museum of Modern Art (MoMA), New York (w/ Christopher Allen, Jesse Shapins, Kara Oehler)
  • 2007 Arte.Mov, Palácio das Artes, Belo Horizonte, Brazil
  • 2007 Conflux Festival, UnionDocs, Brooklyn
  • 2006 Sónar Festival, Barcelona, Spain
  • 2006 ZeroOne, ISEA, San Jose
  • 2006 Conflux Festival, McCaig-Welles Gallery, Brooklyn (w/ Jesse Shapins)
  • 2005 Glowlab Open Lab, Art Interactive, Cambridge (w/ Jesse Shapins)
  • 2005 Loving Berlin, Deutsches Architektur Zentrum, Berlin, Germany (w/ Sue Huang)
  • 2005 Certain Movement, The Tank, New York (w/ Megan Metcalf)
  • 2004 The Case at Kulturhuset, Stockholms Kulturhuset, Stockholm, Sweden (w/ Sue Huang)
  • 2004 Conflux Festival, Participant Inc, New York (w/ Christopher Allen and Jesse Shapins)
  • 2004 Art and Technology, Stadsbiblioteket, Göteborg, Sweden
Awards
  • 2024 LL Stewart Fellowship, PRAx Center for Creative Arts, Oregon State University
  • 2024 Affliation, Institute for Climate Sound and Society, Harvard Metalab
  • 2023 Awardee, Creative Capital, New York
  • 2022 Residency, The Arctic Circle Expedition, Svalbard, Norway
  • 2022 Residency, Leonardo at Djerassi, California
  • 2022 Fellowship, Center for Art Research, University of Oregon
  • 2021 Finalist, Creative Capital, New York
  • 2021 Membership, NEW INC, New York
  • 2021 Grant, Swissnex, San Francisco
  • 2020 Finalist, Creative Capital, New York
  • 2019 First Prize Editorial Award, Chronus Art Center, Shanghai, China
  • 2018 Residency, University of the Witwatersrand, Johannesburg, South Africa
  • 2018 Residency, Maajaam, Estonia
  • 2018 Residency, Media Archeology Lab, University of Colorado, Boulder
  • 2018 Finalist, FETA Foundation Prize in Sound Art, Miami
  • 2017 Commission, University of Denver, Denver
  • 2016 Commission, NEoN Digital Arts, Dundee, Scotland
  • 2016 Residency, Rocky Mountain Biological Laboratory, Gothic
  • 2016 Residency, MASS MoCA, North Adams
  • 2016 Project Residency, Eyebeam, New York
  • 2016 Finalist, FETA Foundation Prize in Sound Art, Miami
  • 2015 Fellowship, Tow Center for Digital Journalism, Columbia University, New York
  • 2014 Commission, Contemporary Art Center, Cincinnati
  • 2013 Grant, Creative Arts Council, Brown University, Providence
  • 2013 Fellowship, Open Graduate Education, Brown University, Providence
  • 2013 Residency, Free103point9 Wave Farm, Catskill
  • 2013 Award, iNTERFACES Interactive Art Competition, Porto, Portugal
  • 2012 Fellowship, Howard and Jan Swearer Foundation, Brown University, Providence
  • 2012 Residency, Eyebeam, New York
  • 2011 Award, Core 77 Design (notable), New York
  • 2009 Residency and Commission, MOCA, Los Angeles
  • 2007 Commission, Rhizome at the New Museum, New York
  • 2006 Commission, Beall Center for Art and Technology, Irvine
  • 2004 Commission, Stockholms Kulturhuset, Stockholm, Sweden
  • 2003 Residency, Studio for Electro-Instrumental Music (STEIM), Amsterdam, Netherlands
Peer-Reviewed Articles
  • 2023 “Urban Intonation: Listening to the Rats of NYC,” in Leonardo (56:6)
  • 2023 “Metric Displacement: The Sound of Network Friction,” in The Journal of Media Art Study and Theory (MAST) (2:4)
  • 2020 “Acid Love: Mines, Remediation, and Ensembles of the Witwatersrand,” in Leonardo (54:5), ed. Lenore Manderson and Christo Doherty
  • 2019 “Animas: Disaster, Data, and the Resonance of a River,” in Journal of Sonic Studies (18), ed. Caleb Kelly
  • 2019 “Everything That Happens Will Happen Today,” in Chronus Art Center Editorial: Resurrecting Cybernetics (1), ed. Jiang Yuhui
  • 2018 Thomas R. Kirchner, Hong Gao, Daniel J. Lewis, Andrew Anesetti-Rothermel, Heather A. Carlos, Brian House, “Individual Mobility and Uncertain Geographic Context,” in Journal of Healthcare Informatics Research
  • 2017 “Machine Listening,” in APRJA: Machine Research (6:1), eds. Christian Ulrik Andersen and Geoff Cox
  • 2017 “Against Listening,” in Contemporary Music Review (36:6), eds. Lenore Manderson and Ed Osborn
  • 2013 “OpenPaths: Empowering Personal Geographic Data,” in Proceedings of the 19th International Symposium on Electronic Art
Book Chapters
  • 2020 “Quotidian Record: The Musical Interpretation of Mobile Phone Location Data,” in The Routledge Companion to Mobile Media Art, eds. Larissa Hjorth, Adriana de Souza e Silva, Klare Lanson, Routledge
  • 2018 “Synchronizing Uncertainty: Google’s Spanner and Cartographic Time,” in DATA browser: Executing Practices, eds. Helen Pritchard, Eric Snodgrass, and Magda Tyźlik-Carver, Open Humanities Press
  • 2014 “Subversive Mobile Storytelling,” in Mobile Media Making in an Age of Smartphones, eds. Marsha Berry and Max Schleser, Palgrave Pilot
Essays
  • 2020 “Urgency,” in Design Research Forum: Agency X Urgency, Harvard GSD
  • 2020 “The Noise Between,” in Avery Shorts, ed. Jesse Connuck, Columbia University Press
  • 2019 Laura Kurgan, Dare Brawley, Brian House, Jia Zhang, and Wendy Hui Kyong Chun, “Homophily: The Urban History of an Algorithm,” in e-flux Architecture, eds. Nick Axel, Nikolaus Hirsch
  • 2019 “Stalking the Smart City,” in Urban Omnibus, ed. Mariana Mogilevich
  • 2019 “Keeping Time at MAAJAAM,” in Estonian Art, ed. Stacey Koosel
  • 2016 “Urban Intonation,” in continent.: Acoustic Infrastructures (5:3), eds. Jamie Allen, Lital Khaikin, Isaac Linder
  • 2014 “Mary Mattingly’s WetLand,” in Title Magazine, ed. Jacob Feige
  • 2009 Brian House and Jesse Shapins, “Designers and Citizens as Critical Media Artists,” in Urban Omnibus, ed. Cassim Shepard
  • 2007 Brian House and Sue Huang, “Hundekopf: Nonlinear Narrative in Mixed Reality,” in Vague Terrain (6), ed. David McCallum
Conference Papers
  • 2024 “Listening to the Expanded Local,” Land as Pedagogy, Critical Media Lab, Basel
  • 2024 “Nonhuman Listening,” Climate Sound and Society, Radcliffe Institute, Cambridge
  • 2023 “Macrophones: Listening to the Climate Crisis via Infrasound,” Instruments, Interfaces, Infrastructures, Harvard University, Cambridge
  • 2022 “Macrophones: Listening to the Climate Crisis via Infrasound,” International Symposium on Electronic Art (ISEA), Barcelona, Spain
  • 2022 “Extraction and Resonance,” Urban Violence, University of Oregon, Portland
  • 2021 “Macrophones: Listening to the Climate Crisis via Infrasound,” Society for Literature, Science, and the Arts, University of Michigan, Ann Arbor
  • 2021 “Workshop: Listening to Forests,” Critical Zones exhibition, ZKM, Karlsruhe
  • 2021 “Macrophone check,” CAA / New Media Caucus, Chicago
  • 2018 “Everything That Happens Will Happen Today,” International Symposium on Electronic Art (ISEA), Durban, South Africa
  • 2017 “Animal Behavior: Rhythmanalysis and the More-than-Human,” Society for Literature, Science, and the Arts, Arizona State University, Tempe
  • 2017 “On Wifi, Habits, and Rats,” Radical Networks, New York
  • 2017 “Machine Listening: WaveNet, Media Materialism, and Rhythmanalysis,” Transmediale, Berlin, Germany
  • 2017 Heidi Steltzer and Brian House, “Seeing Orange, Feeling Blue: Sound Art as an Approach to Bridge the Gap Between Public Perception and Scientific Understanding of Risk,” American Geophysical Union, New Orleans
  • 2015 “Synchronizing Uncertainty: Google's Spanner and the Foreclosure of Time,” PARSE Biennial Research Conference on Time, Göteborg Universitet, Sweden
  • 2015 “Quotidian Record: The Musical Interpretation of Personal Geographic Data,” Inertia, UCLA, Los Angeles
  • 2015 “Interruption as Rhythm,” INTERRUPT, Brown University, Providence
  • 2014 “OpenPaths: A New Approach to Aggregating Personal Geographic Data,” Subtle Technologies, Toronto
  • 2014 Thomas Kirchner, Hong Gao, Andrew Anesetti-Rothermel, Heather Carlos, Brian House, “Longitudinal human mobility and real-time access to a national density surface of retail outlets,” UrbComp, New York
  • 2013 “OpenPaths: Location, encryption, and participatory sensing,” PRISM Breakup, Eyebeam, New York
  • 2013 “Quotidian Record: The Musical Interpretation of Personal Geographic Data,” Society of Electro-Acoustic Music in the United States, Wesleyan University, Middletown
  • 2013 “OpenPaths: Empowering Personal Geographic Data,” International Symposium on Electronic Art (ISEA), Sydney, Australia
  • 2012 “A New Approach to Aggregating Personal Geographic Data,” American Association of Geographers, New York
  • 2011 “From Psychogeography to Rhythmanalysis,” Conflux Festival, New York
  • 2007 Brian House and Jesse Shapins, “The Mixed-Reality City,” Narrative, Play & Learning in Multimodal Environments, University of Southern Denmark
  • 2007 “Subversive Mobile Storytelling,” Arte.Mov, Belo Horizonte, Brazil
Invited Talks
  • 2023 “Experimental Field Recording,” New York University, New York
  • 2023 “Beyond Data Sonification,” Caltech, Pasadena
  • 2021 “Beyond Data Sonification,” University of Oregon, Eugene
  • 2021 “Adapative Ecologies,” RISD, Providence
  • 2020 “Small Sounds, Big Sounds,” Technische Universität, Berlin, Germany
  • 2020 “Cities and Computers,” UC Davis, Davis
  • 2019 “Art and Data,” Lewis & Clark College, Portland
  • 2019 “Rhythmanalysis of the Earth, the Animal, and the Machine,” Arizona State University, Tempe
  • 2019 “Data Publics and Public Data,” Columbia GSAPP, New York
  • 2019 “Spatial Narratives,” Hunter College, New York
  • 2019 “Aesthetics of Extraction,” NEW INC, New York
  • 2019 “Beyond Data Sonification,” Columbia University, New York
  • 2018 “Code Ecologies workshop,” School for Poetic Computation, New York
  • 2018 “Urban Rhythms of Rats and Robots,” Cooper Union, New York
  • 2018 “Urban Rhythms of Rats and Robots,” Cornell Tech, New York
  • 2018 workshop on deep learning, University of Pennsylvania, Philadelphia
  • 2018 artist talk, NYU ITP, New York
  • 2018 “The Earth, the Animal, and the Machine,” Tshimologong Digital Innovation Precinct, Johannesburg, South Africa
  • 2018 “Rivers, Rats, and RNNs,” Eyeo Festival, Walker Museum of Art, Minneapolis
  • 2018 artist talk, SUNY, Buffalo
  • 2018 “Physical Data: Site, Sound, and the Social,” Lewis & Clark College, Portland
  • 2017 artist talk, NYU Shanghai, Shanghai, China
  • 2017 artist talk, Connecticut College, New London
  • 2017 artist talk, University of Denver, Denver
  • 2016 workshop and artist talk, Washington University, St. Louis
  • 2016 workshop and artist talk, Youngstown State University, Youngstown
  • 2015 “Eavesdroppers, Ventriloquists and Ghosts,” UnionDocs, New York
  • 2015 “Shake Hands like Leaves (w/ Lucia Monge),” AV Synth Workshop, Dartmouth
  • 2015 “Tool() Symposium panel,” RISD, Providence
  • 2015 “Playfest, artist talk,” Oberlin College, Oberlin
  • 2015 “Google Maps and artistic practice,” BRIC Arts, New York
  • 2014 visiting critic, Smith College, Northhampton
  • 2014 artist talk, Leaders in Software Art, New York
  • 2014 “Brian House & Nick Felton: Automatic Data, Personal Documentary,” UnionDocs, New York
  • 2014 “Making Design Weird,” Better World by Design, Providence
  • 2014 “Quotidian Rhythms and Political Frictions,” Eyeo Festival, Walker Museum of Art, Minneapolis
  • 2013 artist talk, School for Poetic Computation, New York
  • 2013 artist talk, NYU ITP, New York
  • 2013 “Knifeandfork and Collective Practice,” SUNY Purchase, Purchase
  • 2013 “Poetics of Computer Language” panel, Eyebeam, New York
  • 2012 artist talk, Internet of Things Meetup, New York
  • 2012 guest critic, Harvard GSD, Cambridge
  • 2012 guest critic, Columbia GSAPP, New York
  • 2011 “Video Art and Experimental Film Festival” panel, Tribeca Cinemas, New York
  • 2011 artist talk, Google, New York
  • 2011 lecture on behavior mining, OpenPlans, New York
  • 2011 “Poetic Urbanisms,” Harvard GSD, Cambridge
  • 2011 “From Psychogeography to Rhythmanalysis,” Hunter College, New York
  • 2010 round-table talk on digital humanities, UCSB, Santa Barbara
  • 2010 guest critic, Parsons D+T, New York
  • 2008 “Subversive Mobile Storytelling,” RISD, Providence
  • 2008 “Writing Cities” symposium, MIT, Cambridge
  • 2008 artist talk, Dorkbot NYC, New York
  • 2008 “Subversive Mobile Storytelling,” University of Westminster, London
  • 2008 “Nonlinear Narrative in Urban Space,” SUNY Buffalo, Buffalo
  • 2007 guest critic, NYU ITP, New York
  • 2006 “Interactivity and Nonlinear Narrative,” MICA, Baltimore
  • 2006 guest artist for Time Capsule project, Yahoo!, Sunnyvale
  • 2006 “Interactivity and Nonlinear Narrative,” UC Irvine, Irvine
  • 2006 “Mobile Social Software,” UCLA Design | Media Arts, Los Angeles
  • 2005 artist talk, Harvard GSD, Cambridge
  • 2005 “Living Lab” panelist, IT University of Copenhagen, Copenhagen
  • 2005 artist talk, Dorkbot NYC, New York
  • 2005 guest critic, NYU ITP, New York
  • 2004 artist talk, MIT Department of Urban Studies and Planning, Cambridge
Bibliography—Books, Chapters, and Journals
  • 2022 Jeanne Devautour Choi and Samuel Boury, “Random walks through poetry,” in Digital Creativity, Routledge
  • 2021 Sofian Audry, Art the Age of Machine Learning, MIT Press
  • 2019 Andreas Broeckmann, “The Machine as Artist as Myth,” in Arts (8:1)
  • 2018 Jessica Thompson, “Beyond 'Beyond Locative Media Art': Art, Data and the Politics of Place,” in Drain (15:1)
  • 2017 Lenore Manderson and Ed Osborn, “Rumble Filters: Sonic Environments and Points of Listening,” in Contemporary Music Review (36:3)
  • 2017 Lucy Bullivant, 4D Hyperlocal : A Cultural Toolkit for the Open-Source City, Wiley
  • 2016 Gemma Argüello Manressa and Sondra Bacharach, “Digital Street Art,” in Collaborative Art in the Twenty-First Century, eds. Sondra Bacharach, Siv B. Fjærestad, Jeremy Neil Booth, Routledge
  • 2016 Bianca Gai, “Costruire Il Libro Del Futuro. Dematerializzazione, Geolocalizzazione e Realtà Virtuale.,” in Open Literature. La Cultura Digitale Negli Studi Letterari, eds. Virginia Pignagnoli, Silvia Ulrich
  • 2016 Eve Kalyva, “Where are my keys? The now of critique in a plurality of voices,” in Notebook for Art, Theory, and Related Zones (21)
  • 2016 Johanna Linsley, “Possible Public and Private Narratives,” in Contemporary Theatre Review (26)
  • 2016 Dan Ehrenfeld, “The Cloud and the Mine,” in Kairos: A Journal of Rhetoric, Technology, and Pedagogy (21:1)
  • 2016 Bree Hadley, “Mobilising the mobilities paradigm in drama, theatre and performance studies,” in Australasian Drama Studies (69)
  • 2015 Ulrik Ekman, Jay David Bolter, Lily Diaz, Maria Engberg, Morten Søndergaard, Ubiquitous Computing, Complexity, and Culture, Routledge
  • 2015 Nassim JafariNaimi, “MRx as a participatory platform,” in Digital Creativity (26:3)
  • 2015 Francis Marchese, “The Art of Urban Engagement,” in Media Art and the Urban Environment, Springer
  • 2014 Cathy Cox, “Interactive Technologies in Music Composition: Towards a Theory of Interactivity,” in Music Research: New Directions for a New Century, Cambridge Scholars Publishing
  • 2013 Malcolm McCullough, Ambient Commons: Attention in the Age of Embodied Information, MIT Press
  • 2013 Matteo Marangoni, “Quotidian Record: Listening To The Calendar Year,” in Neural (46)
  • 2013 Cristina Sá, “From conception to exhibition: The 'iNTERFACES' competition.,” in Journal of Science and Technology of the Arts (5:1)
  • 2012 Grant Kester, “Galatea's Gaze: Ethics, Spectacle, and Participation,” in Engagement Party: Social Practice at MOCA 2008-2012, ed. Aandrea Stang, The Museum of Contemporary Art
  • 2012 Zachary Kaplan, “Knifeandfork,” in Engagement Party: Social Practice at MOCA 2008-2012, ed. Aandrea Stang, The Museum of Contemporary Art
  • 2011 Mark Shepard, “Toward the Sentient City,” in Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Space, ed. Mark Shepard, The MIT Press
  • 2011 Eric Gordon, Adriana de Souza e Silva, Net Locality: Why Location Matters in a Networked World, Wiley
  • 2010 Mattia Casalegno, “The Research of Knifeandfork: In Between Technology and Participation,” in Digimag Journal (52)
  • 2010 Rita Raley, “Walk This Way: Mobile Narrative as Composed Experience,” in Beyond the Screen, eds. Jörgen Schäfer, Peter Gendolla, Transcript Verlag
  • 2010 Britta Timm Knudsen, Re-investing Authenticity: Tourism, Place and Emotions, Channel View
  • 2009 Graham Coulter-Smith, Deconstructing Installation Art, Brumaria
  • 2008 Christine Nippe, “City Representations in Net Art,” in The Electronic City, eds. Ulrike Bucher, Maros Finka, Berliner Wissenschafts-Verlag
  • 2008 Paola Antonelli, Design and the Elastic Mind, The Museum of Modern Art
  • 2007 Robert Klanten, Sven Ehmann, and Matthias Hubner, Tactile: High Touch Visuals, Die Gestalten Verlag
Bibliography—Print Periodicals
  • 2019 “Chicago Architecture Biennial Preview: Spatial Research and Urban Conflict,” Metropolis, September 18
  • 2018 “Listen to the World,” The New York Times Magazine, September 23
  • 2018 “A Watershed in the Arts and Science,” Wits University Curiosi.ty, May
  • 2017 “The 48 Hour Summit Brings Socially Engaged Art to RedLine,” Westword, August 11
  • 2017 “Myhren Gallery's Storm Warning Heats Up the Debate Over Climate Change,” Westword, April 11
  • 2017 “Climate change art exhibit a real community service,” The Denver Post, March 16
  • 2017 “Machine Research,” Transmediale Newspaper, February
  • 2015 “Data as Mirror,” ARCADE, Spring
  • 2015 “Globale,” Kunstforum International, 237: 2015
  • 2013 “Sense of Hearing,” Chuan Art, Summer
  • 2011 “The 50 Best Inventions of the Year,” TIME Magazine, November 28
  • 2011 “Poetic Urbanisms,” Harvard Gazette, February 15
  • 2010 “In Your Palm, Memories of Horror and Valor,” The New York Times, September 12
  • 2008 “MAAP-making,” PRAXIS, 10: Urban Matters
  • 2006 “Yellow Arrow—Capitol of Punk,” SPIN, May
  • 2006 “Yellow Arrow,” Taiwan Daily News, April
  • 2006 “Making Connections, Here and Now,” The New York Times, January 25
  • 2005 “What the Situationists left behind: Psychogeography,” NY Arts Magazine, October
  • 2005 “Targeting the 'Art' Around Every Corner,” The Washington Post, July 2
  • 2005 “Make a Connection,” Berliner Zeitung, June
  • 2005 “The Art of Mobile Technology,” The Boston Globe, April 18
  • 2005 “PUBLIC ART: House Haiku? Just dial,” Newsweek, March 14
  • 2005 “Sticker Talk,” Metropolis, February
  • 2004 “Text in the City,” WIRED Magazine, September
  • 2004 “Visitors solve 'The Case at Kulturhust',” Dagens Nyheter, April 27
  • 2004 “The Case at Kulturhuset,” Svenska Dagbladet, April 15
  • 2004 “Art and Technology Go Hand in Hand,” Göteborgs-Posten, December 19
Bibliography—TV and Radio
  • 2023 Urban Intonation on The Sonocene, podcast
  • 2023 Macrophones on Smart Forests, podcast
  • 2021 Metric Displacement on WFMU, October 22
  • 2018 Urban Intonation on WFMU, October 2
  • 2018 Urban Intonation on WNYC, September 19
  • 2017 Animas on Colorado Public Radio, March 31
  • 2015 What Does the Internet Sound Like? on SWR2 (Germany), August 24
  • 2014 Conversnitch on Fox News, April 23
  • 2013 Change Ringing on WGXC, August 10
  • 2009 Make History on WNYC, September 10
  • 2009 Trying the Hand of God on KMEX / Univision 34, April 2
  • 2005 Yellow Arrow on WNBC, July 2
  • 2005 Yellow Arrow on Weekend America, June 5
  • 2004 Knifeandfork on Rocketboom, December 14
  • 2004 Yellow Arrow on NY1, October 3
Bibliography—Online
  • 2021 “Brian House and Ben Rubin Sonify Deep History at Brooklyn Botanic Garden,” HOLO, September 4
  • 2021 “‘Terminal Moraine’ Artists Intend to Bring Brooklyn Back to its Glacial Roots,” Columbia Climate School State of the Planet, March 26
  • 2019 “This radio station broadcasts sounds of rats – and it sounds amazing,” Create Digital Music, April 8
  • 2018 “Turning water pollution into audiolized awareness,” Flowing Data, September 13
  • 2018 “Dirty Rat,” Phantom Power, April 9
  • 2018 “A Rat Named Nemesis,” New Yorker, May 19
  • 2017 “This art installation creates sounds based on real-time data from a polluted river,” The Verge, April 25
  • 2017 “Animas River Sound Sculpture,” Those Who Make Waves, May 4
  • 2016 “Acoustic Infrastructure,” Continent., Summer
  • 2016 Liat Berdugo, “I'd Swipe Right on Yr Metadata,” Transart Triennale Blog, June 6
  • 2015 “Objectifying Our Digital Lives,” Hyperallergic, September 30
  • 2015 “What Does Data Sound Like?,” Frontier, May
  • 2014 “The Beautiful Near-Silence of Botswana's Okavango Delta at Night,” Gizmodo, September 24
  • 2014 “Conversnitch Surveillance Art Project Is Spying On You Via Lamps,” Huffington Post UK, May 25
  • 2014 “Conversnitch turns covert surveillance into an art form,” The Guardian, May 16
  • 2014 “An Eavesdropping Lamp That Livetweets Private Conversations,” WIRED, April 23
  • 2014 “That Lamp Over There? It's Spying On You,” Motherboard, April 23
  • 2014 “A lamp is spying on New Yorkers and tweeting their conversations,” The Verge, April 23
  • 2014 “This Light Bulb Is Listening,” Slate, April 23
  • 2014 “Terrifying Lamp Will Record Your Conversations Then Live-Tweet 'Em,” Creator's Project, April 23
  • 2014 “This Is What Facebook Sees When It Scans Your Face,” BuzzFeedNews, April 21
  • 2013 “Digital Delta,” The Ascender, November 13
  • 2013 “Quotidian Record: Artist Brian House Turns Tracking Data Into A Vinyl Music Experience,” Huffington Post, July 26
  • 2013 “Artist Turns a Year’s Worth of Tracking Data Into a Haunting Record,” WIRED, July 22
  • 2013 “Sonification and the (re-)performance of data – an interview with Brian House,” Creative Applications, July 12
  • 2013 “Soundtrack Of Your Life: Get Into The Groove Of Tracking Your Every Move In Vinyl,” Fast Company Design, July 8
  • 2012 “How One Man's Bicycle Commute Inspired a Strange Song,” The Atlantic Cities, September 25
  • 2012 “Commute as Composition — Brian House's Forty-eight to Sixteen,” Creative Applications, September 24
  • 2012 “In Percussive Harmonies, A Record of a Year of Travel,” Create Digital Music, August 8
  • 2012 “The Quotidian Record inscribes a year of location data onto a vinyl EP,” The Verge, July 5
  • 2012 “Art and tech, aesthetics and hacking meet at Eyebeam's open studios,” Capital New York, July 7
  • 2012 “Data Reenactment: Street View Video from a Stolen Phone,” New-Aesthetic, March 1
  • 2012 “Own and securely store your location with OpenPaths,” Flowing Data, January 26
  • 2011 “NYTLabs Magic Mirror Reveals News and Health Statistics,” Infoaesthetics, November 28
  • 2011 “New York Times' magic mirror helps you get dressed, puts the 'wall' in 'paywall',” Engadget, September 5
  • 2011 “NY Times' Kinect-Assisted Mirror Delivers News, Coupons and Fashion Tips As You Brush Your Teeth,” Popular Science, September 2
  • 2011 “NYT Working On 'Magic Mirror' For Bathroom Surfing,” Slashdot, September 2
  • 2011 “Mirror, mirror: The New York Times wants to serve you info as you're brushing your teeth,” Nieman Journalism Lab, August 31
  • 2011 “Data Reenactment via Stolen iPhone,” Flowing Data, July 21
  • 2011 “Following a Stolen iPhone's Path in Google's Getaway Car,” Gizmodo, July 19
  • 2011 “OpenPaths lets you visualize your iPhone location data, donate it to science,” Engadget, May 11
  • 2011 “OpenPaths,” Creative Applications, May 5
  • 2010 “Trying the Hand of God,” Rhizome.org, July 2
  • 2010 “Pull My Ears,” Locally Toned, June 18
  • 2010 “How Art Museums Are Striving to Stay Relevant for a New Generation,” The Huffington Post, March 28
  • 2009 “Make History: Aggregating Experiences,” Information Aesthetics, September 15
  • 2009 “Make History Gathers Stories Over Streetviews,” Core77, September 11
  • 2009 “MOCA Becomes a Mini Golf Course. Plus: Donuts,” NBC Los Angeles, March 5
  • 2009 “Art Meets Sport at MOCA,” Los Angeles Times, February 23
  • 2006 “5 'til 12,” We-Make-Money-Not-Art, January 16
  • 2005 “Placing Voices,” We-Make-Money-Not-Art, April 5