| index | ||||||
| toby | ian | |||||
We first knew each other way back before either of us could guess the
significance of our friendship, circa 1985-1988 in Westchester
County, New York. Ian was (and perhaps still is) around
6 years older than I, and from that time he
impressed my young self with his quick
wit and musical technique, born
of an experimental nature that
would prove to be a huge
source of inspiration for
me in the future.
Fast-forward to 1996
(and several major geograph-
ical moves later, for us both), and we
were living in central Florida, Ian in Orlando and
myself in Tampa. That Fall I began college, at the U of South
Florida, and was beginning to feel an inkling that I wanted to pursue
some kind of artistic path, though it was still unclear if this was going to be
strictly musical or something more ambiguous. Ian, in his own way,
encouraged me during the following year to branch out in my
studies. I began to study music, but also took up photo-
graphy (in which I'd been recently dabbling).
The first music class that gave me
access to instruments, a
percussion course,
also gave in to my safekeeping
a key that was a 24/7 pass to the practice
rooms in the college of music, a labyrinth of hallways
with room upon room of pianos and percussion (including tympani
and marimba). When I had completed the percussion class (which would be
the last offical music class I'd take), somehow that key never made
it back to the college of music, so for the next several years
Ian and I had the ability to access those instruments
for playing, recording, sampling and generally
plunking around. This freedom of access
was the beginning, for me, of the
understanding that music
would be a part of
what I do, but not the only
thing. In early 1998 I moved in to my
own apartment, in a complex east of the USF
campus. I lived in CAN until leaving Florida in 2001; during
those 3 1/2 years Ian visited many times, and we always had something
to work on. There was a lot of inspiration during that time, which lead to much
work on sound,
photographs,
environments,
and eventually video.
It was our playground, and has an enduring influence on what we carry on doing now.
significance of our friendship, circa 1985-1988 in Westchester
County, New York. Ian was (and perhaps still is) around
6 years older than I, and from that time he
impressed my young self with his quick
wit and musical technique, born
of an experimental nature that
would prove to be a huge
source of inspiration for
me in the future.
Fast-forward to 1996
(and several major geograph-
ical moves later, for us both), and we
were living in central Florida, Ian in Orlando and
myself in Tampa. That Fall I began college, at the U of South
Florida, and was beginning to feel an inkling that I wanted to pursue
some kind of artistic path, though it was still unclear if this was going to be
strictly musical or something more ambiguous. Ian, in his own way,
encouraged me during the following year to branch out in my
studies. I began to study music, but also took up photo-
graphy (in which I'd been recently dabbling).
The first music class that gave me
access to instruments, a
percussion course,
also gave in to my safekeeping
a key that was a 24/7 pass to the practice
rooms in the college of music, a labyrinth of hallways
with room upon room of pianos and percussion (including tympani
and marimba). When I had completed the percussion class (which would be
the last offical music class I'd take), somehow that key never made
it back to the college of music, so for the next several years
Ian and I had the ability to access those instruments
for playing, recording, sampling and generally
plunking around. This freedom of access
was the beginning, for me, of the
understanding that music
would be a part of
what I do, but not the only
thing. In early 1998 I moved in to my
own apartment, in a complex east of the USF
campus. I lived in CAN until leaving Florida in 2001; during
those 3 1/2 years Ian visited many times, and we always had something
to work on. There was a lot of inspiration during that time, which lead to much
work on sound,
photographs,
environments,
and eventually video.
It was our playground, and has an enduring influence on what we carry on doing now.
The current physical divide between us has been substantially compromised by the values of high speed internet. Once in a while we may get together, perhaps even a phone call every couple of years, but our work and communication now is almost completely achieved across the Internet, independent but refined, and always with good humor and in the spirit of collaboration. Within oscillation.org we hope to bring back some of that great personal interaction and sensory experience, in images, sounds and videos... all in the tradition of these inspired and enlightened times, which were always very large in spirit.
Intersection (2001)
Prehistoric Alien Landscape (1999)
A Cyclical Existence in 9 Parts (1997)
Begin at the End (1998)
Fatherland & the future (1999-2007)
Video work
1999 - 2000
1999 - 2000
During our time in NY, we visited the
cemetery where Toby's father's grave
resides, and the experience, through Ian's
recorded video, inspired Toby to create a
video & soundtrack, Fatherland, in 2007.
cemetery where Toby's father's grave
resides, and the experience, through Ian's
recorded video, inspired Toby to create a
video & soundtrack, Fatherland, in 2007.
EvilUSF (97~99)
In summer of 1999 we (all the Rywalts and
Toby) took a road trip up the east coast,
staying in PA at Ian's father's home,
visiting old haunts in NY, and crossing the
big border into Canada for a short visit.
Toby) took a road trip up the east coast,
staying in PA at Ian's father's home,
visiting old haunts in NY, and crossing the
big border into Canada for a short visit.
This began with a pre-installation
session in the dark and cavernous
artillery rooms at Ft. De Soto state
park, during which the three of us
did some exploring and recording.
session in the dark and cavernous
artillery rooms at Ft. De Soto state
park, during which the three of us
did some exploring and recording.
Ian made the trip from Orlando
frequently to contribute video for
projections, record video and images,
and generally play in the space.
frequently to contribute video for
projections, record video and images,
and generally play in the space.
We occupied a multi-room, derelict space
at 902 Rome Ave in Tampa for a month in
early 2001, during which Lance and Toby
set up the bulk of the equipment and
operated the installation.
at 902 Rome Ave in Tampa for a month in
early 2001, during which Lance and Toby
set up the bulk of the equipment and
operated the installation.
Intersection (2001), a collaborative installation
project, was Toby's senior project at USF. It started
with an idea to create a collaborative environment in
which we (including Lance Robson aka Rick Loose)
could work unencumbered by our own daily routines.
project, was Toby's senior project at USF. It started
with an idea to create a collaborative environment in
which we (including Lance Robson aka Rick Loose)
could work unencumbered by our own daily routines.
EvilUSF (97~99) is a collection of improvisations, edited digitally,
reflecting our exploration of the
different instruments and the
space we found at USF
reflecting our exploration of the
different instruments and the
space we found at USF
These little experiments were mostly
recorded to cassette tape, then later
edited in order to condense the long
recordings and bring out the weird
playfulness in them.
recorded to cassette tape, then later
edited in order to condense the long
recordings and bring out the weird
playfulness in them.
Begin at the End (1998) was an
installation by Toby, using multiple
slide projections and soundtracks,
at the Centre Gallery in the
student center at USF
installation by Toby, using multiple
slide projections and soundtracks,
at the Centre Gallery in the
student center at USF
A Cyclical Existence in 9 Parts
(1997) is a photo and sound
project, the soundtracks
improvised to the photographs
(1997) is a photo and sound
project, the soundtracks
improvised to the photographs
This was a project from Toby's
first photography class, and the
first time that we collaborated on
a focused project together
first photography class, and the
first time that we collaborated on
a focused project together
Overgrowth (2000) was Toby's first full
experimental video and audio project,
and it was heavily indebted to Ian's
recent and ongoing experimentation
with video (and made using his camera)
experimental video and audio project,
and it was heavily indebted to Ian's
recent and ongoing experimentation
with video (and made using his camera)
City Walk (1999) was one of Ian's first
experiments with his camera's short-shot
recording function, allowing us to condense
an entire experience of Universal Studio's
City Walk into a very brief amount of time
experiments with his camera's short-shot
recording function, allowing us to condense
an entire experience of Universal Studio's
City Walk into a very brief amount of time
Sometime around spring of 1999 we
all took a canoe trip on the outskirts
of Orlando, on which we took the
video camera, and recorded some
interesting sounds and images.
all took a canoe trip on the outskirts
of Orlando, on which we took the
video camera, and recorded some
interesting sounds and images.
Toby's second experimental video in 2000,
Beach scene, was recorded at one of our
favorite spots in central FL, on a beach at Ft.
De Soto park. This was also very inspired by
Ian's ongoing video experimentation (and was
also made using his camera).
Beach scene, was recorded at one of our
favorite spots in central FL, on a beach at Ft.
De Soto park. This was also very inspired by
Ian's ongoing video experimentation (and was
also made using his camera).
Quintin in 30 Second Intervals (1999) was
Ian's first experiment with his camera's
short-shot recording function (two settings:
one for a few frames, the other for five
seconds), on a stay with Quintin at CAN
Ian's first experiment with his camera's
short-shot recording function (two settings:
one for a few frames, the other for five
seconds), on a stay with Quintin at CAN
Tampalapse (1999) was another early experiment with the
short-shot function, this time condensing a drive with Quintin
at night from CAN, along the interstate, through Ybor City
into downtown Tampa, and then through the sports-strip joint
industrial complex of the Dale Mabry corridor
short-shot function, this time condensing a drive with Quintin
at night from CAN, along the interstate, through Ybor City
into downtown Tampa, and then through the sports-strip joint
industrial complex of the Dale Mabry corridor
During the Begin at the End
installation, we staged a performance
with dance and a networked sound-
track performance by Ian
installation, we staged a performance
with dance and a networked sound-
track performance by Ian
These sounds, alongside a number
of other samples, inspired Toby to
create a soundtrack (Prehistoric
Alien Landscape) to an imaginary
environment.
of other samples, inspired Toby to
create a soundtrack (Prehistoric
Alien Landscape) to an imaginary
environment.
Toby and I were born and raised in
Mt. Kisco, New York back in the 1970's and 80's.
Separated by 6 years, we likely have largely different perspectives
on what it was like growing up there. Toby is the younger brother of my
friend Phil, the latter of whom had introduced us both early on to progressive rock.
Phil's musical guidance helped to align us away from the declining pop
culture and onto a path to a more advanced, accomplished,
"individual" sound. By the early 90's, after a few
years living in Puerto Rico, we all
converged together again in Tampa, Florida.
I'd just started composing on synths, and traveling
around the country was providing me with space, peace of
mind and inspiration for new ideas. At the time Toby was just old
enough to take notice. He showed interest in the music I was working on
and listening to. I kept these observations in mind. Toby and his neighborhood friend
Allyn were both drawn to my work, and essentially became my fanbase.
I remember Toby playing my first tape on several occasions,
which was surprising to me. In late 1991 I returned
to Tampa after a stint in Austin, Texas,
and began to work on more
advanced ideas. Toby would look in on
this, although we still had a pretty large age gap at
the time. We were not quite communicating yet... In 1994, Phil
would periodically bring Toby over to his house in Orlando where I was
rooming. My other roommate Jim Jewell was a Zappa freak and Tom Waits fanatic.
I was into artists like King Crimson, Fripp, Mick Karn, Sylvian, Japan and
Simple Minds, with an emphasis on bass guitar. Toby immersed
himself into all of this during his visits. The fact that
he was so receptive was really inspiring.
We began collaborating on
creative ideas in late 1996, and those
ideas would gel in the following years. Toby started
collecting percussive instruments to compliment his standard drum
kit, all of which we would soon be working with. (Analog to digital sampling using
the tools we had available to us.) By the time the MP3 format was made
available, I was quickly losing interest in sequencing music. We
both became interested in sampling and sound
production. Toby's influence
and friendship was really beginning to
change my values for the better. By 1998 both of
us were deep into Eno, and the drum & bass movement of
the late 90's. My interest in graphic arts and Toby's interest in photo-
graphy brought us on a mutual path to digital video. Video would soon surround our
experiences and planned activities. By 1999 I came upon an idea to manipulate
certain characteristics built-in to my analog camcorder. My prediction
lead to a series of experimental video collages. The first
set took place at the CAN on October 28,
1999. It was a deliberate visit
with only a concept and a confidence that
we would be able to begin a more artistic process within
the world of video. Toby's photography and my interest in time lapses
led to the production of several side projects. But the core period of prolific work
followed between 1999 and 2000, and could not have seen the light of
day without the collaborative all-encompassing bond we had
forged in the art-minded space at the CAN.
Mt. Kisco, New York back in the 1970's and 80's.
Separated by 6 years, we likely have largely different perspectives
on what it was like growing up there. Toby is the younger brother of my
friend Phil, the latter of whom had introduced us both early on to progressive rock.
Phil's musical guidance helped to align us away from the declining pop
culture and onto a path to a more advanced, accomplished,
"individual" sound. By the early 90's, after a few
years living in Puerto Rico, we all
converged together again in Tampa, Florida.
I'd just started composing on synths, and traveling
around the country was providing me with space, peace of
mind and inspiration for new ideas. At the time Toby was just old
enough to take notice. He showed interest in the music I was working on
and listening to. I kept these observations in mind. Toby and his neighborhood friend
Allyn were both drawn to my work, and essentially became my fanbase.
I remember Toby playing my first tape on several occasions,
which was surprising to me. In late 1991 I returned
to Tampa after a stint in Austin, Texas,
and began to work on more
advanced ideas. Toby would look in on
this, although we still had a pretty large age gap at
the time. We were not quite communicating yet... In 1994, Phil
would periodically bring Toby over to his house in Orlando where I was
rooming. My other roommate Jim Jewell was a Zappa freak and Tom Waits fanatic.
I was into artists like King Crimson, Fripp, Mick Karn, Sylvian, Japan and
Simple Minds, with an emphasis on bass guitar. Toby immersed
himself into all of this during his visits. The fact that
he was so receptive was really inspiring.
We began collaborating on
creative ideas in late 1996, and those
ideas would gel in the following years. Toby started
collecting percussive instruments to compliment his standard drum
kit, all of which we would soon be working with. (Analog to digital sampling using
the tools we had available to us.) By the time the MP3 format was made
available, I was quickly losing interest in sequencing music. We
both became interested in sampling and sound
production. Toby's influence
and friendship was really beginning to
change my values for the better. By 1998 both of
us were deep into Eno, and the drum & bass movement of
the late 90's. My interest in graphic arts and Toby's interest in photo-
graphy brought us on a mutual path to digital video. Video would soon surround our
experiences and planned activities. By 1999 I came upon an idea to manipulate
certain characteristics built-in to my analog camcorder. My prediction
lead to a series of experimental video collages. The first
set took place at the CAN on October 28,
1999. It was a deliberate visit
with only a concept and a confidence that
we would be able to begin a more artistic process within
the world of video. Toby's photography and my interest in time lapses
led to the production of several side projects. But the core period of prolific work
followed between 1999 and 2000, and could not have seen the light of
day without the collaborative all-encompassing bond we had
forged in the art-minded space at the CAN.