Filmed Sunday October 30th, 2022 at The Fest 20 in Gainesville, FL.

Algernon Cadwallader released two full-length albums during their tenure as a band: 2008’s Some Kind of Cadwallader, and 2011’s Parrot Flies, before calling it quits in 2012. In 2022 they announced a reunion tour, their first in 10 years, featuring the original lineup of Peter Helmis (vocals, bass), Joe Reinhart (guitar), Colin Mahony (guitar), Nick Tazza (drums), and Matt “Tank” Bergman (drums). Their tour included a stop in Gainesville for The Fest, where they closed out the final night by playing to an enthusiastic crowd at Heartwood Soundstage.

Filmed & Edited by
Alec Pugliese
Becca Prucha

Live Audio Mix by
Chris Baglivo

Audio Post-Production by
Kitzy

Produced By
Left of the Dial
Human Kindness Productions

Thank You
The Fest
Heartwood Soundstage

Credits: Cinematography, Editing, & Co-Directed by Corey Hughes. Co-Directed by Abdu Ali & Corey Hughes. Drone Operator: Travis Levasseur.

Project Info: Visuals for "Did Dat," a track off of Baltimore-based performer Abdu Ali's 2016 Album MONGO. Filmed at the former artist-run space THE BELL FOUNDRY in Baltimore, Maryland. "Did Dat" premiered online via THE FADER.

Twill is a textile pattern of diagonal ribs. This experimental video explores what happens when you apply that weave structure to lines of video.

Visualization of my complex feelings towards my father.

ai image generator prompt generator, companion website to installation: http://tarayoungborg.com/ai_image_generator_prompt_generator/

I am interested in how our brains distort memories through neuroscientific processes, and the ways in which our technologies can mirror these human glitches and failures. I use a variety of visual distortions to relate to the distortion of our memories, becoming recontextualized as part of our repeated recollections.

This installation consists of projected, morphing abstract imagery, digital prints of these abstracted images on chiffon, mylar sculptures, an abstract soundscape made from the color data of the video, as well as the audio interpretations of the images by humans and artificial intelligence algorithms1.

For this project, I have trained a neural network, a type of artificial intelligence (AI) algorithm, on a set of images from my past to try and create new memories, shared between myself and my AI. I then used the images that were created from my dataset as training data for the neural network, in order to create a feedback loop to enhance the qualities inherent to the visual qualities created by the model.

I am also considering the tendency towards building our technology to mimic human experience– such as the ways we look to nature for pattern making (ie, using fibonacci numbers to create patterns in code, calling randomized numbers ”seeds” for our programs). The neural network that trained to generate these images uses a randomized noise field (which looks like static on a television screen) as the underlying structure for the image, and then draws out the images it generates through a machinic apophenia2, creating unnatural, blobby animations that look not natural, but have a wide possibility of interpretations.

Our embodied experience extends into the fourth dimension– a space expanded through our experience of time and virtuality through the internet.3 This is also what I am trying to create and consider: the spaces we experience when looking at a digital screen, and the spaces that we cannot see within the computer programs, and how we consider and interpret the past when situated in a different temporal and physical space.

1: An algorithm is a program that consists of a set of rules to solve a specific mathematical or other type of problem. Algorithms are still the base of all of our computer models, and the goal of how we approach computation- as problems to come to a concrete solution.
2: Apophe​nia: the tendency to perceive a connection or meaningful pattern between unrelated or random things (such as objects or ideas) (Merriam-Webster)
3: Laurence Scott, The Four-Dimensional Human