Impossible Dust (2023)
"Impossible Dust" began as an audio-visual particle study. On a technical level, the piece explores how audio reactivity can draw on aspects of a sound both including and beyond gain and frequency. The algorithmic system that produces the piece can move through various combinations of “stages" to produce different fixed-media iterations of the work. On a conceptual level, this piece considers dust as a metaphor for timelessness, finality and the afterlife. This is explored by disintegrating old photographs to form patterns of audible and visual "dust," and by using granular sounds and frenetic gestures to suggest a coming to terms with such themes.
{[Digital Flesh 1: Scar in Data]} (2022-present)
{[Digital Flesh 1: Scar in Data]} is a set of multimedia art projects that combines live cinema and experimental sound with installations, and AR. It is part of an ongoing collaboration with multidisciplinary artist and filmmaker Sojung Bahng. This project investigates how representations of our bodies and shared physical sensory information can be de/re-materialised through digital audio-visual media. We incorporate machine intelligence techniques such as computer vision into our live performance, in addition to approaching other digital art art forms such as AR and interactive installation. More info.
Mercury Rising (2022)
An electroacoustic piece about viewing the sounds of the 1960’s space race within an acousmatic context. In addition to the use of sourced recordings, electronic sounds of this time period are revisited with additional digital sampling and effects processing to consider their potential to be heard as retro-futuristic.
Terms and Conditions (2022)
A sound installation about biometric surveillance and navigating algorithmic spaces in everyday life. Facial behaviours and distinct objects are detected, and analyzed, and then mapped to musical parameters. There are different levels of interactivity within the work. Sometimes the system almost immediately responds to actions and the presence of objects within the camera view, while other sounds are the result of an accumulation of data (e.g. how many times has your mouth been open within a short period of time?). After about a minute, the system erases any accumulated information. Sound is diffused in the space over both short and long distances to reflect the way in which digital surveillance decenters traditional physical presence.
Habitats (2021)
A series of generative works, programmatically based on the idea of digital ecologies. Each section consists of a dedicated program written in the ChucK language. The recordings on Bandcamp are just one version of the piece. Each program can run indefinitely, producing unique versions of the piece in which new relationships between the different sound-making objects in the code are formed.
Laptop Improvisation
From time to time I improvise experimental music with laptops by creating algorithmic musical machines.
From a 2023 performance at the Isabel Bader Centre for the Performing Arts
My set from the Sonic Arts Concert Series (with guests Elka Bong) - Queen’s University - May 12, 2022.
CSP - Code, Sound and Power (2019 - present)
I occasionally write electroacoustic pieces that revisit my past fascination with the classical guitar. “Standard” pieces are rescored using synths, and recordings of myself playing are at times transformed beyond recognition in the production of new sound objects. A couple examples from this ongoing project…
Przypadek (2016)
An electroacoustic piece written in 2016, based on the Krzysztof Kieslowski movie by the same name.
Sight Unseen (2017)
An electroacoustic piece that uses a combination of computer-generated sounds (granular synthesis in particular) and transformations of my own voice. This piece was my doctoral thesis project at the University of Cincinnati, College-Conservatory of Music. It was made along with some new software for granular synthesis using the SuperCollider and RTcmix programming languages.