is a new media and sound artist whose projects have been presented at The University of California at Irvine, White Box Gallery, Eyebeam, Princeton University, The New Museum, The New York Hall of Science, The Banff Center for the Arts, The Arts and Genomics Center in Amsterdam and Vancouver, Xeroxâ€™s Palo Alto Lab, Real Art Ways (Sol LeWitt Collection) and the Beecher Center for Arts and Technology. Publications include Mark Batty/ Random House, e-Scholarshipâ€™s â€œThe Emotions-after Charles Darwinâ€, MIT’s â€œArt and Innovation at Xerox Parcâ€ and â€œInformation Artsâ€, Ars Electronica Cyberarts 2005, Kloone4000, Allegories of the Genome, Art Calendar, NY Arts, PhotoReview (selected by Philip Brockman of the Corcoran) and Printmaking Today.
â€œBirdsongs; the Language Geneâ€ (which reconfigures birdsongs into human music) was previously presented in the â€œSonic Fragmentsâ€ sound-art festival at Princeton University in 2008 and is in the collection of the New Museum. â€œ95 Chimesâ€; a sound installation relating music string theory to music was first presented in 2002 at the ASCI SCI-Art Symposium at the Museum of Natural History in New York and was mastered in 2005 in Banff Centre for the Artâ€™s recording studio under a co-production grant. She also has worked collaboratively with her father, classical composer Dr. Irwin Swack (whose archives are in Lincoln Center), most notably on â€œLittle Wars; the Carousel Projectâ€; an animated video using his piece Four Burlesques for Flute and Bb Clarinet.
She is currently preparing â€œAnimal Patterning Projectâ€ (a bio-art/ animation exploring the genetic alteration of the patterning of animal skins to make them more aesthetic for human exploitation) and “Digital Maze Symmetry Project” (participant s can â€œgrowâ€ and interactively navigate through their own 3D software designed virtual architectural maze space) for publication by Mark Batty for Random House in â€œInfinite Instances: Studies and Instances of Time.â€