This Website is a Crash Course In Fracking
A curated collection of bibliographic resources, government documents, letters, and video investigations serves as a crash course in fracking.
Update Spotlight 🌍
Control Your Concrete 📺
“Control Your Concrete” is an experimental August 2026 film and essay made from walks through Ithaca. Following Thoreau’s idea that “the most alive is the wildest,” the film notices the living world pushing into the systems we build and asks how much of it can really be controlled. The page also compares federal government statements with journalism about climate and environmental change, showing how the language of control and management plays out beyond the local walk—in forests, rivers, energy systems and public policy.
Networked ambient video
Earthstage Loop Room
A free ambient video experience for desktops, phones, tablets, classrooms, galleries, and live gatherings.
A networked video field
Open two or three looping videos on different devices. This arrangement allows you not just to watch, but to inhabit the videos. Earthstage becomes a temporary installation wherever you are.
The landscape arrangement is preferred, widescreen. Turn up the volume, let the videos drift in and out of the conversation at the table.
Try it with a friend: open a different loop on each device and let the screens play together.
Click for fullscreen. Rotate your phone for a wider Loop Room view.
Build Your Loop RoomUpdates 🔥
Our Town 📺
Walking gives me the material and also gives me the order. *Our Town* follows June as it happened—water, flowers, machinery, music, political signs, insects, shadows, protest and pavement—allowing ordinary things to overlap without forcing them into a single explanation.
Complex Simply Painted 📺
In July I move through flowers, storms, friends, recordings, murals, machines and a tree’s last dance, while the public record turns toward Texas floods, weather forecasting, EPA science and the Endangerment Finding. Slowing the film does not make the world simpler. It lets me see more of its complexity.
Playground of Coincidence 📺
August becomes a playground of coincidence: random music, cicadas, a Model T, a changing mural, a fish on the path, grief, and a lake turning briefly into stars. The camera lets things exist beside one another before deciding what they mean—while beyond the walk, the government and scientists argue over what constitutes harm.
These Two Circles 📺
Walking through Ithaca, I watch streets torn open and repaired, trees pruned, workers tending the ordinary machinery of a city. This is not a war zone. Neither are other American cities made into battlefields because the government describes them as dangerous or proposes using them as military “training grounds.” September asks what happens when the language of climate, dissent, and public life is changed to obscure what is plainly before us. Reality does not yield to the words used against it.
Perseverance 📺
July begins with things changing form: fireworks become rain, a great tree disappears from Washington Park, and small lives continue around what remains. As smoke crosses borders and heat travels beyond where it begins, the walk becomes a way of paying attention—and attention itself becomes a demand for a vibrant, healthful world.
‘Tis of Thee 📺
October is made from texture, wind, insects, water, shadow, protest, and sound. The walk stays close to the ground, then opens suddenly into public language: an Earth flag, no kings, no crowns for clowns, a national anthem played through drum roll and pennywhistle. My spirits infallibly rise in proportion to the outward dreariness. Give me the ocean, the desert, or the wilderness!
Family 📺
November carries public grief and cosmic scale along the same path. Carl Sagan’s apple pie opens the scale outward. If you wish to make an apple pie from scratch, you must first invent the universe. We begin to understand this.
Brass Light 📺
December gathers snow, moon, gas globe, holidays, animals, and lights into one field of attention. What is civic and what is domestic begin to trade places. The gas globe becomes snowmen. Steam becomes the moon. A patch panel becomes birds by the lake. Holiday lights, brass light, snow light, and household light all begin speaking to one another.
Gasfract 📺
A gloved hand traces the curve of an icy orb, snow and ice held in suspension. It reminds me of a control bar for the frozen land. What looks frozen is not motionless. January holds movement inside the pause.
Soft Gun 📺
The realtime source follows February as a sequence of winter fragments: snow, bridge, art window, ice, warning, screen, moon, water. In the slowed version, the fragments dissolve into one another until danger and play begin to share the same surface.
Drum Beat 📺
I combine naturalism, history, diary, always in motion. March may be my key piece. It is the longest video, and it feels iconic to me — the right time and place. This month seems to contain the full grammar: weather, politics, friends, music, gallery light, water, mud, protest, spring, death, food, thunder, and the body walking through it all.
What brings you joy 📺
What brings me joy is gathered in signs and wonders. The slower video lets me study the vines on a wooden fence transforming into a flower head. Flies alight like fireflies by the stream. The flowers of summer open around me, and even the red painted fire hydrant appears to belong in a garden.
Parade 📺
Some things I found because they were signs. Some were flowers, raindrops, animals, clouds, painted lines, arrows, a cat sleeping in sunlight, a dead bird, an empty discarded drawer, a painting of birds, and the sky opening again and again. Sometimes I had time to stop down and frame the shot. Sometimes I reached for the camera as fast as I could.
No Boundaries 📺
In recent months, I’ve been spending more time walking through Ithaca. Most days, I leave from North Plain Street, cross Buffalo Street, past the Children’s Garden, and follow the inlet trail toward Treman Marina and Cayuga Lake before circling back home.
Boundary 📺
First shown as a two-channel, three monitor video piece on three large boxed blonde Oak black-and-white Setchell-Carlson monitors set on the stage floor. I was inspired by The Vasulkas Machine Vision series (1975-1977) to work in video that way.
Frack Mix 🎲
Chevron Human Energy Stories | Addressing Climate Change
Jonathan McIntoshs' Remix Video is a critical and transformative work that constitutes a Fair…
Draft Plan to Study the Potential Impacts of Hydraulic Fracturing on Drinking Water Resources (Updated 2011-04-09)
The Environmental Protection Agency (EPA or Agency) Science Advisory Board (SAB) Staff Office announces…
Exxon’s Oozing Texas Oil Pits Haunt Residents as XTO Deal Nears – BusinessWeek
This article examines the lawsuit against Exxon filed by Texas rancher Elizabeth Burns.
