Electroacoustic and Generative Music

“Impossible Dust - II” (2025): is part of an ongoing series of electronic works. On a conceptual level, this piece considers dust as a metaphor for timelessness, finality and the afterlife. This is explored by using a variety of approaches — for example, by disintegrating/sonifying 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.

“Obsession” (2024): is based on the juxtaposition of actual and virtual guitar recordings. The piece explores simulation of instrument sounds (comparing early electronic techniques with recent AI-based approaches), to comment on shifting definitions of instrumentality and liveness in digital music. It also explores the idea of the guitar as a uniquely “electro-acoustic” instrument (i.e., one where the integration of electronic/digital artifacts and the use of noise have become an integral part of the instrument).

Premiere: 2024 Australasian Computer Music Conference (Sydney and Melbourne Concerts)

"Away” (2024) hybridizes actual and simulated voice sounds with material from synthesizers and outdoor recordings of heavy machinery (using both older electronic music techniques and recent AI-based approaches). This creates a liminal space where bodily sounds inhabit machine processes, and builds on previous explorations of how living presence can be inferred in sound art. Bodily and soundscape sources relate to my own experience in Northern Sweden (e.g., a characteristic non-lexical inward breath used to express agreement) and my daily life in Canada.

Premiere: 2024 “Hurricanes and Scaffolding” Artistic Research Conference (Umeå, Sweden)

“Przypadek” (2016): is an homage to the director Krzysztof Kieslowski. While using an entirely different medium, it uses recordings and simulated sounds to exploration of themes such as the ambiguity between chance and fate.

Premiere: 2016 International Computer Music Conference (Utrecht, Netherlands)

My Metal Bird Can Sing (2016): is an exploration of glitch/post-digital electronic music techniques. In addition to juxtaposing sounds from digital audio failure with abstracted field recordings, the piece questions how such sources can construct sonic narratives.

Premiere: 2016 SEAMUS (Society for Electroacoustic Music in the United States) Conference (St. Cloud, USA)

“Habitats” (2021): A series of five generative works, programmatically based on the idea of digital ecologies and a metaphor of idea of code as an ecosystem for data. Each section consists of a dedicated program written in the ChucK language (i.e., all sounds realized only by running the software). These are just excerpts from one iteration 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.

Premiere: 2023 Australasian Computer Music Conference (Sydney, Australia)

Audio-Visual and Collaborative Work

“Wired: Gosiwon” (2024): 3D animated VR film directed by Sojung Bahng, for which I created the music/sound design. Instead of using narration, the visuals work in tandem with ambient sounds. Much of what is heard was created using machine learning systems for electronic music that involve things like sound classification (or behaviours that stem from failure to classify) and hybridization of different instrument sounds. More info.

“{[Digital Flesh 1: Scar in the Data]}” (2022): 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.

"Impossible Dust" began as an audio-visual particle study that represents a first dive into Jitter programming. 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.

Premiere: 2024 AV@CMU Concert Series (Carnegie Mellon University, USA)

(above) live coding session, UmArts Open House Event (Umeå University), May 28, 2025.

(below) From a 2023 improvisation concert at the Isabel Bader Centre for the Performing Arts. Haerim Seok, piano; Michael Lukaszuk, electronics:

A recording of set from the Sonic Arts Concert Series (with guests Elka Bong) - Queen’s University - May 12, 2022.