Three New Lives for Electric Chair (TNLEC) (2015) consisted of a series of three Electric chairs (amplified), an enactor Wand (user controlled electrocution device), inducer Prism (User automated electrocution device), and a microphone placed in front of the chairs connected to a videographics processor which was projected. The entryway to the darkened room contained an information desk with three difference chance distributed pieces of literature (brochure, pamphlet, and program notes) describing the installation as an Entertainment system, healing device, or New Music Composition. In TNLEC the history of the electric chair as well as it’s role in entertainment (public execution), electricity in medicine (Albert Abrams, Wilhelm Reich and other developers of utopia devices), and the history of early electronic and process music were all utilized to give structurally manipulated entryways into the work. The only universal text was the waiver which had to be signed to be given entrance into TNLEC.

The Reactions by the user would generate via the Videographics processor individually created "abstractions" claimed by the viewer by signature of the work via the Waiver. These abstractions regardless of the philosophy of the text were repeating patterns with little to no variation. Aside from the role of the mark as signature in this  formalism, the role of the waiver was another fabrication of  trust between the operator, and chairs.

To further this artificial empowerment and trust by utilizing natural forces and language, an "easy listening"  album was created including a special enhanced single version of the sessions. The end of the experience was simply contact with the formalized electricity. The user is gifted safety and trust against a formalized force of nature that simply runs from one system to another despite the text received.

Three New Lives For Electric Chair Brochure, Pamphlet, and Program