Fixed Media Electroacoustic Works
"Away” (2024) is a sound art project that is played with different collections of speakers placed around a room. It explores two parallel streams of meaning. First, a continuum of ambient noise is developed by continuously juxtaposing, hybridizing and reconstructing human and computer-generated breathing and voice sounds alongside material from electronic devices and outdoor recordings of heavy machinery. 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. Secondly, the idea of being present in different places is presented by relying on sound sources that are relate to my own experience in Northern Sweden (e.g., a characteristic non-lexical inward breath used to express agreement, soundscape/urban recordings) with recorded sources that point to my daily life in Canada.
“Obsession” (2024): this is an acousmatic piece based on juxtaposition of actual and virtual guitar recordings. The piece historicizes the use of FM imitations and older physical models, and blends them with realizations of the instrument from AI-based timbre matching. Here, listening to the boundaries between real and virtual guitars is more than just a technical feature. It explores the idea of the guitar as an electroacoustic instrument, instrumental tropes, and the possibility of liveness as an aesthetic position in fixed media.
“Przypadek” (2016): is an homage to the director Krzysztof Kieslowski. While using an entirely different medium, it uses a mix of recordings and simulated sounds to exploration of themes such as the ambiguity between chance and fate.
Generative Music
Particle Studies - II - “Fernando” (2019): is part of a series of algorithmic miniatures that explore the idea of revisiting especially old media through the lens of digital technology. I see this as a continuation of the way that electronic musicians have re-orchestrated and remixed pieces from long ago. These are more than just elaborate sampling exercises, as the initial recordings for transformation used for each little piece has a self-reflexive element. For Fernando, the material (which is gradually revealed near the end of the piece) consists of myself performing a study by the 18th century composer Fernando Sor.
“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.
Audio-Visual 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.
(above) live coding session, UmArts (Umeå University), 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.