All Together Through Time
Composition 2023.07 (Untitled) Composition 2022.03 (Untitled) Composition 2023.04 (Untitled)
Composition 2023.07 (Untiled) consists of continually changing twelve-tone rows that were generated using the Open AI GPT-4 programme - and suggests never ending permutation and endless movement through time.
Composition 2022.03 (Untitled) is sparsely textured - and consists of a continually repeating tone with fading chords.
Composition 2023.04 (Untitled) consists of alternating tones from high and low registers - and is based on tone rows from leading composers of the twentieth century - with tone rows from Alban Berg - Morton Feldman - Elisabeth Lutyens - Arnold Schoenberg - Karlheinz Stockhausen - and Anton Webern.
The Greek philosopher Heraclitus claimed that "everything flows” - highlighting the constant change in the universe. Yet - the idea of "all together through time" might suggest that there is permanence amidst change - and that a thread of continuity runs through this ever-shifting landscape of existence.
An Integrated World View
Composition 2017.03 (Untitled) Composition 2017.04 (Untitled) Composition 2018.05 (Violin Stories)
Composition 2017.03 (Untitled) is in the form of a palindrome - and was produced digitally using granular synthesis with samples of a cello. The composition was premiered at Iklectik - London - 11.10.2017.
Composition 2017.04 (Untitled) was produced digitally using granular synthesis with samples of a flute - and is a mix of both tonal and non-tonal elements. The tone-cell for the composition consists of: G1 - C3 - D#3 - F#3 - A#3. Composition 2017.04 (Untitled) was premiered at Corpora Aliena - Iklectik - London - 30.03.2019.
Composition 2018.05 (Violin Stories) was produced in collaboration with the Serbian musician and sound artist Manja Ristić - and is based on samples of a violin. The composition was premiered at Poetronica - curated by Pavel Zhagun - National Centre for Contemporary Art - Moscow - 21.04.2018
In the words of Manja Ristić: Composition 2018.05 (Violin Stories) was conceptualised with pre-recorded violin samples by Manja Ristić. Processed violin sounds build a meditative atmosphere inviting us into a deep listening experience. Suggested by "sonic breathing", drone-like fluctuations and spatial extensions with overall minimal sound movement - and allude to altered state of consciousness that transcend the alteration of space-time perception. The organic sound of the instrument is wrapped in a digital net developing a dense, almost material sonic body.
The title - An integrated Worldview - refers to the importance of having a comprehensive and holistic perspective that seeks to unify various aspects of knowledge - beliefs - and understanding into a coherent and harmonious framework. It involves synthesising different disciplines - perspectives - and ideas to create a more complete understanding of the world and our place within it. This kind of worldview encourages the recognition of interconnectedness and interdependence among various phenomena - and it often goes beyond narrow or isolated viewpoints.
It's important to note that developing and maintaining an integrated worldview requires ongoing learning - reflection- and a willingness to adapt as new knowledge emerges. While striving for integration can lead to a deeper and more nuanced understanding of the world - it's also important to recognise that complete integration might not always be achievable due to the inherent complexity of reality and the limitations of human understanding.
Empty Rooms
Composition 2015.04 (Untitled) Composition 2018.03 (Untitled) Composition 2021.07 (Untitled)
The three sparsely textured compositions of the Empty Rooms album are in the form of technological meditations - and which explore the relationships between empty space - silence - and the philosophical idea of the void.
Composition 2015.04 (Untitled) consists of two repeating tones - pitched at C3 and C#3 - separated by silence.
Composition 2018.03 (Untitled) is based on a tone-cell of C1 - D#2 - F#2 - C3 - and consists of a continually repeating harp-like sound and fading tones.
Composition 2021.07 (Untitled) consists of a short continuously repeating sinewave-based tone at C4 - and two fading sounds pitched at C3.
Empty space generally denotes the absence of physical matter or objects. It is a concept commonly used in art - design - and architecture - where the utilisation of empty space can be as essential as the objects or elements themselves. A quiet room with minimal furniture can be considered a space of silence and emptiness - and can be used to create a sense of quietude and stillness - which can be perceived as silence.
Silence typically refers to the absence of sound or noise. It can be experienced both externally in the physical world and internally as a state of mind - and can convey a sense of calm - introspection - and clarity of mind.
The void is a more abstract and philosophical concept. It refers to an infinite or boundless emptiness - often associated with nothingness - the unknown - or non-existence. In some philosophical and spiritual traditions - the void can represent a state of potentiality from which creation and existence emerge. The void can also be seen as a state of profound emptiness or lack - inviting introspection and contemplation.
Eternal Return
Composition 2020.03 (Untitled) Composition 2021.05 (Untitled) Composition 2020.05 (Untitled)
Composition 2020.03 (Untitled) consists of a continuous drone and repeating fading sounds - and is based on a three-note tone-cell of C3 - C4 - C#4.
Composition 2021.05 (Untitled) is based on the twenty-four-note tone-row from Karlheinz Stockhausen’s Klang series of compositions (2005-2007). This is the tone row: E2 - C2 - F2 - D3 - C#3 - D#3 - A3 - G3 - G#3 - B2 - F#3 - A#2 - D#2 - C#2 - D2 - F3 - C3 - E3 - A#3 - F#3 - B3 - G#2 - G2 - A2.
Composition 2020.05 (Untitled) is based on orchestra chords from Edgar Varèse’s composition Déserts (1950-1954). According to Varèse - the title of his composition regards ‘not only physical deserts of sand, sea, mountains, snow, outer space and deserted city streets - but also distant inner space - where man is alone in a world of mystery and essential solitude.’ Composition 2020.05 (Untitled) was premiered at Corpora Aliena - IKLECTIK [off-site] - 23.09.2020.
The "eternal return" (or "eternal recurrence") is a concept found in various philosophical - religious - and metaphysical traditions throughout history. At its core - the idea posits that the universe and all events within it are perpetually recurring in an infinite cycle. This means that everything we do - every event that occurs - has happened before and will happen again an infinite number of times.
The German philosopher Friedrich Nietzsche is often associated with the concept in Western thought. For Nietzsche - the idea of the eternal return was both a thought experiment and a kind of existential challenge. He proposed the idea that if one were told that every action - no matter how significant or trivial - would be repeated infinitely in the exact same way - how would one live? Would one be crushed by the weight of such a revelation - or would one affirm life in spite of it? For Nietzsche, affirming the eternal return was akin to affirming life in its entirety - with all its joys and sufferings.
“What if some day or night a demon were to steal after you into your loneliest loneliness, and say to you, "This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence.” Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: "You are a god and never have I heard anything more divine” - Friedrich Nietzsche
From Here to There
Composition 2023.02 (Untitled) Composition 2023.03 (Untitled) Composition 2023.09 (Untitled)
Composition 2023.02 (Untitled) consists of a single line moving in semi-tones and minor thirds - within a pitch range between A1 to C3 - and suggests never ending permutation and endless movement through time. The Open AI GPT-4 programme was used to determine the ordering of the tones.
Composition 2023.03 (Untitled) is based on a seven-note tone cell of C2 - C# - D2 - D# - E2 - F# - A# - and which were formed into dyads and triads. The Open AI GPT-4 programme was used to determine the ordering of the chords.
Composition 2023.09 (Untitled) consists of fading full tones - semi-tones - and quarter tones.
The title - From Here to There - can be explored from a multitude of philosophical perspectives. While in everyday language it denotes a physical journey from one place to another - in philosophy it can touch upon ideas related to existence - perception - temporality, and the human journey - among others.
From our birth (here) to our death (there) - life is an existential journey. Philosophers like Jean-Paul Sartre and Albert Camus have delved into the nature of existence - exploring the journey of life filled with absurdity - choices - and freedom. And for the philosopher Martin Heidegger - “From here to there" could denote the passage of time - from the present moment (here) to a future moment (there). It can also be regarded as not just as a spatial or physical journey - but as a metaphor for various intellectual - moral - and spiritual pursuits.
Heard Again
Composition 2023.01 (Untitled)Composition 2023.05 (Untitled) Composition 2023.06 (Untitled)
The Heard Again album consists of three compositions that explore the use of different harmonic and tonal structures - including single tones - dyads - triads - and chords. The aim was to produce compositions with an ‘all over sound’ - without any harmonic structure having dominance over another.
Composition 2023.01 (Heard Again) is based on a short harmonic sequence from Arnold Schoenberg’s composition Six Little Pieces Op. 19 (1911)
Composition 2023.05 (Untitled) consists of repeating dyads with an underlying fading tones.
Composition 2023.06 (Untitled) consists of chord sequences by determined by using the Open AI ChatGPT application.
The title - Heard Again - is a play on ‘seen again’ or ‘already seen’ - and which translates in French as ‘déjà vu’.
Déjà vu refers to the strong and uncanny feeling that one has experienced the present situation or event before - even though it is happening for the first time. It's like a brief moment where the present feels oddly familiar - as if it's a repetition of a past experience. The subjective nature of the experience makes it difficult to determine if it's a real memory or a trick of the mind.
The linear movement of the tones and chords within these composition suggest an almost never ending and continuous cycle of events without any conclusion or resolve. In a sense - time becomes a repeating loop.
The sensation of déjà vu is like being stuck in a loop - and you think you know what’s going to happen next - but then your thoughts catch up with the end of the loop - and you don’t know where you are. ‘Have you really heard this before?’
Infinite Time
Composition 2024.09 (Untitled)Composition 2024.10 (Untitled) Composition 2024.11 (Untitled)
Composition 2024.09 (Untitled) is based on the tone-row from Arnold Schoenberg’s opera Moses and Aron. This is the tone-row: A - A# - E - D - D# - C# - G - F - F# - G# - B - C.
Composition 2024.10 (Untitled) is based on a tone cell of C1 - C2 - D#2 - F#2 - A#2 - C3 - and which includes a repeating ostinato figure of C1 and D#2.
The concept of infinite time refers to time that extends indefinitely, without any beginning or end. Philosophically, the notion of infinite time raises questions about the nature of existence, causality, and the structure of the universe. Philosophers have long debated whether time is fundamentally linear (with a clear beginning and end) or cyclical (with events recurring in an endless loop). The idea of infinite time challenges our understanding of concepts like change - progress - and the meaning of life. If time is infinite - it may imply that every event will recur an infinite number of times - as posited by Nietzsche's concept of the "eternal recurrence". Alternatively - it might suggest a static universe where all possibilities are realised.
Know Yourself (Γνῶθι σεαυτόν)
Composition 2021.06 (Untitled) Composition 2021.08 (Untitled) Composition 2022.01 (Untitled)
Composition 2021.06 (Untitled) is based on a four-tone cell of C - C# - E - F# - from which dyads and tetrachords have been derived.
Composition 2021.08 (Untitled) is based on a six note tone-cell made up of three dyads: C2/ C#3 - B1/D3 - A1/D#3.
Composition 2022.01 (Untitled) is based on harmonic elements from Anton Webern’s 1914 composition ‘Three Little Pieces for Cello and Piano’ Op. 11.
The phrase "know yourself" is an ancient aphorism that has its origins in Greek philosophy. It is often attributed to both the Greek philosophers Socrates and Thales. The full quote is "Know thyself" - which in Greek is "Γνῶθι σεαυτόν" (Gnōthi seautón).
At a basic level, "know yourself" encourages individuals to engage in self-reflection and introspection. This involves examining one's thoughts, emotions, values, desires, strengths, weaknesses, and motivations. Understanding one's own psyche and inner world is a fundamental step towards self-awareness. To truly "know yourself" means to be authentic and genuine. It involves understanding one's true values, beliefs, and desires, and aligning one's actions with them. It can also be seen as a call for intellectual humility. It reminds individuals that despite their knowledge and achievements - there is always more to learn and discover. This humility encourages a willingness to listen - learn from others - and accept the possibility of being wrong.
Living in the Present Continuous
Composition 2015.03 (Untitled)Composition 2016.04 (Untitled) Composition 2018.01 (Untitled)
The three compositions of the Living in the Present Continuous album are sparely textured - and consist of single and overlapping sounds suspended in empty space.
The title - Living in the Present Continuous - is a poetic idea that resonates with various philosophical and spiritual traditions. At its core - this phrase speaks to the idea of being deeply immersed in the present moment - fully experiencing life as it unfolds - without getting lost in thoughts of the past or future. Philosophically - this concept has a few key implications: From ancient Heraclitean philosophy which posits that everything is in a state of flux ("You cannot step into the same river twice") to Buddhist notions of impermanence - the idea is that reality is constantly changing. Living in the present continuous is an acknowledgment of this ever-changing nature of reality.
In a way - the poetic and philosophical idea of "Living in the Present Continuous" is a call to reclaim our attention - to cultivate a deeper connection with our immediate experience - and to find moments of stillness amidst the chaos. It's a reminder that amidst the flux of life and the whirlwind of modern distractions - the present moment is where life truly unfolds.
Moments of Being
Composition 2012.01 (Untitled)Composition 2012.02 (Untitled) Composition 2013.01 (Untitled)
The Moments of Being album consists of three sparely textured compositions that explore the relationship between slowly fading tones and silence - and between being and non-being.
Composition 2012.01 (Untitled) is based on s tone-cell C3 - D#3 - A#3.
Composition 2012.02 (Untitled) is based on a tone-cell of C1 - C2 - C3 - C#4.
Composition 2013.01 (Untitled) is based on a tone-cell C1 - C2 - C3.
The title - Moments of Being - comes from a collection of autobiographical essays by the English writer Virginia Woolf. One of the key ideas Woolf introduces is the distinction between “moments of being” and “moments of non-being.” The former are those rare - illuminative moments when she feels a profound sense of reality - an intense connection with her surroundings or a deep introspection. In contrast - "non-being" represents the more mundane - everyday experiences where one is not fully conscious of their existence. This distinction relates to broader philosophical discussions about consciousness self-awareness - and the nature of existence.
Composition 2022.03 (Untitled) is sparsely textured - and consists of a continually repeating tone with fading chords.
Composition 2023.04 (Untitled) consists of alternating tones from high and low registers - and is based on tone rows from leading composers of the twentieth century - with tone rows from Alban Berg - Morton Feldman - Elisabeth Lutyens - Arnold Schoenberg - Karlheinz Stockhausen - and Anton Webern.
The Greek philosopher Heraclitus claimed that "everything flows” - highlighting the constant change in the universe. Yet - the idea of "all together through time" might suggest that there is permanence amidst change - and that a thread of continuity runs through this ever-shifting landscape of existence.
Composition 2017.03 (Untitled)
Composition 2017.04 (Untitled) was produced digitally using granular synthesis with samples of a flute - and is a mix of both tonal and non-tonal elements. The tone-cell for the composition consists of: G1 - C3 - D#3 - F#3 - A#3. Composition 2017.04 (Untitled) was premiered at Corpora Aliena - Iklectik - London - 30.03.2019.
Composition 2018.05 (Violin Stories) was produced in collaboration with the Serbian musician and sound artist Manja Ristić - and is based on samples of a violin. The composition was premiered at Poetronica - curated by Pavel Zhagun - National Centre for Contemporary Art - Moscow - 21.04.2018
In the words of Manja Ristić: Composition 2018.05 (Violin Stories) was conceptualised with pre-recorded violin samples by Manja Ristić. Processed violin sounds build a meditative atmosphere inviting us into a deep listening experience. Suggested by "sonic breathing", drone-like fluctuations and spatial extensions with overall minimal sound movement - and allude to altered state of consciousness that transcend the alteration of space-time perception. The organic sound of the instrument is wrapped in a digital net developing a dense, almost material sonic body.
The title - An integrated Worldview - refers to the importance of having a comprehensive and holistic perspective that seeks to unify various aspects of knowledge - beliefs - and understanding into a coherent and harmonious framework. It involves synthesising different disciplines - perspectives - and ideas to create a more complete understanding of the world and our place within it. This kind of worldview encourages the recognition of interconnectedness and interdependence among various phenomena - and it often goes beyond narrow or isolated viewpoints.
Composition 2015.04 (Untitled)
Composition 2015.04 (Untitled) consists of two repeating tones - pitched at C3 and C#3 - separated by silence.
Composition 2018.03 (Untitled) is based on a tone-cell of C1 - D#2 - F#2 - C3 - and consists of a continually repeating harp-like sound and fading tones.
Composition 2021.07 (Untitled) consists of a short continuously repeating sinewave-based tone at C4 - and two fading sounds pitched at C3.
Empty space generally denotes the absence of physical matter or objects. It is a concept commonly used in art - design - and architecture - where the utilisation of empty space can be as essential as the objects or elements themselves. A quiet room with minimal furniture can be considered a space of silence and emptiness - and can be used to create a sense of quietude and stillness - which can be perceived as silence.
The void is a more abstract and philosophical concept. It refers to an infinite or boundless emptiness - often associated with nothingness - the unknown - or non-existence. In some philosophical and spiritual traditions - the void can represent a state of potentiality from which creation and existence emerge. The void can also be seen as a state of profound emptiness or lack - inviting introspection and contemplation.
Composition 2020.03 (Untitled)
Composition 2021.05 (Untitled) is based on the twenty-four-note tone-row from Karlheinz Stockhausen’s Klang series of compositions (2005-2007). This is the tone row: E2 - C2 - F2 - D3 - C#3 - D#3 - A3 - G3 - G#3 - B2 - F#3 - A#2 - D#2 - C#2 - D2 - F3 - C3 - E3 - A#3 - F#3 - B3 - G#2 - G2 - A2.
Composition 2020.05 (Untitled) is based on orchestra chords from Edgar Varèse’s composition Déserts (1950-1954). According to Varèse - the title of his composition regards ‘not only physical deserts of sand, sea, mountains, snow, outer space and deserted city streets - but also distant inner space - where man is alone in a world of mystery and essential solitude.’ Composition 2020.05 (Untitled) was premiered at Corpora Aliena - IKLECTIK [off-site] - 23.09.2020.
The "eternal return" (or "eternal recurrence") is a concept found in various philosophical - religious - and metaphysical traditions throughout history. At its core - the idea posits that the universe and all events within it are perpetually recurring in an infinite cycle. This means that everything we do - every event that occurs - has happened before and will happen again an infinite number of times.
The German philosopher Friedrich Nietzsche is often associated with the concept in Western thought. For Nietzsche - the idea of the eternal return was both a thought experiment and a kind of existential challenge. He proposed the idea that if one were told that every action - no matter how significant or trivial - would be repeated infinitely in the exact same way - how would one live? Would one be crushed by the weight of such a revelation - or would one affirm life in spite of it? For Nietzsche, affirming the eternal return was akin to affirming life in its entirety - with all its joys and sufferings.
“What if some day or night a demon were to steal after you into your loneliest loneliness, and say to you, "This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence.” Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: "You are a god and never have I heard anything more divine” - Friedrich Nietzsche
Composition 2023.03 (Untitled) is based on a seven-note tone cell of C2 - C# - D2 - D# - E2 - F# - A# - and which were formed into dyads and triads. The Open AI GPT-4 programme was used to determine the ordering of the chords.
Composition 2023.09 (Untitled) consists of fading full tones - semi-tones - and quarter tones.
The title - From Here to There - can be explored from a multitude of philosophical perspectives. While in everyday language it denotes a physical journey from one place to another - in philosophy it can touch upon ideas related to existence - perception - temporality, and the human journey - among others.
Composition 2023.01 (Untitled)
Composition 2023.01 (Heard Again) is based on a short harmonic sequence from Arnold Schoenberg’s composition Six Little Pieces Op. 19 (1911)
Composition 2023.05 (Untitled) consists of repeating dyads with an underlying fading tones.
The linear movement of the tones and chords within these composition suggest an almost never ending and continuous cycle of events without any conclusion or resolve. In a sense - time becomes a repeating loop.
The sensation of déjà vu is like being stuck in a loop - and you think you know what’s going to happen next - but then your thoughts catch up with the end of the loop - and you don’t know where you are. ‘Have you really heard this before?’
Composition 2024.10 (Untitled) is based on a tone cell of C1 - C2 - D#2 - F#2 - A#2 - C3 - and which includes a repeating ostinato figure of C1 and D#2.
Composition 2021.06 (Untitled)
Composition 2021.08 (Untitled) is based on a six note tone-cell made up of three dyads: C2/ C#3 - B1/D3 - A1/D#3.
The phrase "know yourself" is an ancient aphorism that has its origins in Greek philosophy. It is often attributed to both the Greek philosophers Socrates and Thales. The full quote is "Know thyself" - which in Greek is "Γνῶθι σεαυτόν" (Gnōthi seautón).
Composition 2015.03 (Untitled)
The title - Living in the Present Continuous - is a poetic idea that resonates with various philosophical and spiritual traditions. At its core - this phrase speaks to the idea of being deeply immersed in the present moment - fully experiencing life as it unfolds - without getting lost in thoughts of the past or future. Philosophically - this concept has a few key implications: From ancient Heraclitean philosophy which posits that everything is in a state of flux ("You cannot step into the same river twice") to Buddhist notions of impermanence - the idea is that reality is constantly changing. Living in the present continuous is an acknowledgment of this ever-changing nature of reality.
In a way - the poetic and philosophical idea of "Living in the Present Continuous" is a call to reclaim our attention - to cultivate a deeper connection with our immediate experience - and to find moments of stillness amidst the chaos. It's a reminder that amidst the flux of life and the whirlwind of modern distractions - the present moment is where life truly unfolds.
Composition 2012.01 (Untitled)
Composition 2012.01 (Untitled) is based on s tone-cell C3 - D#3 - A#3.
Composition 2012.02 (Untitled) is based on a tone-cell of C1 - C2 - C3 - C#4.
Composition 2013.01 (Untitled) is based on a tone-cell C1 - C2 - C3.
The title - Moments of Being - comes from a collection of autobiographical essays by the English writer Virginia Woolf. One of the key ideas Woolf introduces is the distinction between “moments of being” and “moments of non-being.” The former are those rare - illuminative moments when she feels a profound sense of reality - an intense connection with her surroundings or a deep introspection. In contrast - "non-being" represents the more mundane - everyday experiences where one is not fully conscious of their existence. This distinction relates to broader philosophical discussions about consciousness self-awareness - and the nature of existence.
