Building a system that generates poetry based on real-time environmental data. Temperature, humidity, and ambient sound levels influence word choice, rhythm, and structure.
The goal is to create a living poem that evolves with its environment, blurring the line between observer and observed.
Exploring the intersection of neural networks and sound synthesis. Using machine learning to generate unique timbres and textures that would be impossible to create with traditional synthesis methods.
Initial findings suggest that training on field recordings produces more organic results than synthetic training data.
Investigating complex feedback loops in modular synthesis. Using probability and chaos theory to create self-evolving patches that drift and mutate over time.
Early tests show promising results with Markov chains controlling patch routing. The system becomes a collaborator rather than an instrument.
Human brain seeks patterns everywhere. Pareidolia for sound. We hear melodies in rain, rhythms in traffic, harmonies in cicadas.
Maybe generative art isn’t about creating chaos, but about creating systems where we can discover patterns we didn’t know we were looking for.
True silence doesn’t exist. Even in the quietest moments, there’s the hum of blood, the whisper of breath, the distant rumble of existence.
What we call noise is often just sound we haven’t learned to hear properly. Cage understood this. Four minutes, thirty-three seconds of listening.
Late night synthesis session. The oscillators drift, unstable and alive. Patched a feedback loop that shouldn’t work but does.
Is the machine dreaming? Or am I the one being programmed, following patterns I don’t consciously choose? Collaboration or possession?
A short collection of essays exploring the practice of deep listening, field recording, and sonic awareness. Written during a month-long residency in rural Iceland.
Topics include: the relationship between silence and sound, the politics of recording, listening as activism, and the phenomenology of ambient sound.
Available as a free PDF and in print-on-demand format.
Open-source collection of Max/MSP patches for generative composition and live performance. Includes sequencers, probability-based rhythm generators, and harmonic exploration tools.
All patches are extensively documented and designed to be modified and extended. The goal is to provide building blocks rather than finished products.
Available on GitHub under MIT license.
A collection of pieces exploring controlled chaos in modular synthesis. Each track represents a different approach to allowing systems to evolve and decay naturally.
Recorded live with minimal editing to preserve the organic drift and evolution of the patches. The goal was documentation rather than perfection.
Available on Bandcamp and all streaming platforms.
Recorded live with minimal editing to preserve the organic drift and evolution of the patches. The goal was documentation rather than perfection.
Portable recording setup including Zoom H6 recorder, contact microphones, and binaural microphones. Used for capturing environmental sounds, textures, and found sounds.
Field recordings serve as both raw material for composition and documentation of sonic environments. The act of listening deeply transforms perception of everyday spaces.
Visual programming environment for creating custom audio and interactive systems. Used for building generative composition tools, custom effects processors, and experimental interfaces.
Max bridges the gap between code and creativity, allowing rapid prototyping of ideas that would take much longer in traditional programming languages.
A collection of Eurorack modules assembled over the years. Core modules include Make Noise Maths, Mutable Instruments Clouds, and various sequencers and VCOs.
This system is the heart of most sound experiments, offering infinite possibilities for patching and sound design. The tactile nature of modular keeps the creative process physical and present.