Back then, his father introduced him to an artist, Charley Friedman, who wanted to create a musical installation that people could move through, hearing different notes at different times, an experience individual and communal. “I’ve always been interested in how humans are easily manipulated by power, by bright lights,” Friedman says. He needed someone who could code and build and commit to a project that was then a concept. Farritor was around 15 when he began working with Friedman and 19 when they first exhibited Soundtracks for the Present Future, composed of 59 hanging, computer-controlled guitars and mandolins, at a contemporary arts center in Omaha. Farritor called it magical. It was featured on public television in Nebraska and traveled to museums around the country. Friedman always referred to Farritor as the exhibition engineer.