Composers and scientists have used algorithms to create new pieces of music for centuries, and they have often been inspired by natural phenomena for modeling their work. As part of that long tradition, I created Audion: a software system for granular synthesis and real-time musical exploration.
Sacred Harp singing is a style of a cappella folk music that originated in the churches and religious communities of the northeastern United States in the 19th century. It also poses some interesting challenge for blind source separation methods.
I decided to embark on designing, building and programming a stand-alone digital synthesizer. This led to many lessons in hardware, programming and sound design.
As a way to learn more about recurrent neural networks (RNNs), I applied a neural network trained on the complete works of Jane Austen to the task of original text generation.
We typically think about interactive media in terms of screens and buttons. Audio, if it’s included, is usually a secondary source of information or input. Not-so-instant Messenger is a prototype sound installation and game that evokes wandering around at night, seeking out a friendly voice.
With my heart and mind firmly fixed on computing’s past, I set out to create an old-school text adventure for mobile phones. It was called Spatial Delivery.
For an exhibition at Peron E in Utrecht, Romy Koch and I were asked to create an installation with the theme “white.” After a months-long process of brainstorming, researching, prototyping and refining, we created the Chronopticon. It’s a machine that allows viewers to examine how the present moment is the culmination of a long, colorful past.