Bio
Whether in programmed live-electronics, fixed-media, acoustic or installation works, my music explores timbral transformations as the basis for structural, harmonic or even melodic considerations.
Formally, aspects of my work are often derived from external information, whether through the sonification and visualisation of numerical or textual data; the use of algorithmic processes to transform or organise materials; the deriving of pitches from spectral analyses; the repurposing of found objects in installation works; or simply the sculpting and reshaping of field recordings in context-driven acousmatic compositions.
I tend to examine non-narrative structures. My pieces are often constructed as seemingly uniform blocks, exploring minute movement within apparent stasis; as linear, unidirectional shifts between two ideas; or as series of individual discrete frames. Through these, I explore stasis and repetition, and their effects on listeners’ perception and memory.
My electronic works are often indebted to the idea of a ‘post-digital aesthetic’, theorised by Casconne, and to subgenres that harness the ‘failure’ of digital technology (using materials semantically linked to such errors: clicks, noise, harsh cuts, etc.). This offers an interesting parallel to the technical approach behind those pieces, whereby algorithms normally built for efficiency are instead used to create pieces through the presentation of sub-optimal runs, the framing of inaccuracies, or the intentional push towards inefficiency.
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