“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.
Premiere: 2025 Washington State University Electroacoustic Music Festival
“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 relates to ongoing artistic research about 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)
“Przypadek” (2016): is loosely inspired by the works of 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. This is done by using reverb as a sound source rather than an effect, accompanied by algorithmic melodies that appear later in the piece.
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)
“Exit 49” (2018)
Composition for electric guitar quartet and electronic playback. An exploration of the guitar as simultaneously a melodic and noise instrument. Extensive overdubbing and guitar effects create an ambiguous relationship between the loudspeaker and instrumental sounds. The title is a reference to the mundanity of commuter life, which I experienced living in the Toronto suburbs around this time.
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.
(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: