Audio Samples for NYU
- Statement of Academic Purpose.
- Statement of Personal History.
- Sonic Plasticity: An Introduction [writing sample]
Audio Samples (AIFF format)
The following three audio samples were composed for an 8.1 sound system. Each audio file contains 9 mono tracks in sync. The first eight tracks are arranged in circular form as described in the diagram below. The 9th track goes straight to the sub-woofer.
2010 - 2012
In Broken Continuum I explore different computer-based syntheses for sound generation. Inspired by the computerʼs potential to produce continuous sound through the juxtaposition of discrete, miniature sonic events, the piece employs a wide range of finely composed pitches, long-paced drones, complex textures, minute sonic gestures, and silence, in order to inspire active listening.
My aim for this piece was to explore two related phenomena that alter audience perception:
1) phase relationships: specifically, the direct consequence of architecture upon the piece.
2) blocking: the effect of the audienceʼs physical presence upon the piece.
Broken Continuum was initially conceived for Brooklyn's Diapason Gallery. The venue's architecture is fairly neutral. It is an approximately 500-square-foot, box-like white space with a high ceiling, carpeted floor, and no windows. As the audience enters the space, listeners hear dynamically highlighted, muted, modulated, or pitch-shifted tones as a consequence of their interaction with the architecture. They are encouraged to walk around, listen to the space, and experience how the phenomena described above creates new content.
Another aspect explored in Broken Continuum is the physicality of sound. To accomplish this, I restricted my sonic palette to certain textures at pitches that can be felt by the body, such as those at the edges of the audible frequency spectrum.
Color Tones is a site-specific sound installation that produces its sonic content in the moment, by listening and abstracting the sounds occurring in the space in which the piece is presented.
Diffused over a multi-channel sound system, these computer-generated sounds invite the audience to enter into a meditative dialogue with the listening space. The piece is punctuated by periodic silences, during which it listens to the room and produces new content.
As the audience enters the listening space, they see a fairly empty room, with a couple of benches and a ring of 8 speakers, elevated to ear level. The space is set up in is such a way to maximize a focus-listening experience by minimizing visual stimulus. Light fixtures are carefully placed to allow people to safely navigate the space while keeping the room as dark as possible.
The audience will be invited to navigate the environment and experience how one’s position in space alters the amplitude, tone, and modulations of the perceived sound, creating their own personal sonic experience as they move around.
2015 - 2016
Algorithmic Soundscapes is a generative sound piece for multi-channel speaker configurations. It is comprised of a growing collection of sound objects which are, in the context of this piece, algorithmic abstractions. They contain the information and behavioral patterns required to produce and diffuse a sound in space. These objects also have the ability to interact which each other, altering each other’s dynamics and position.
The piece is an orchestration of objects over time. Through algorithmic logic it produces an ever-changing composition that can run indefinitely. It is simultaneously a work-in-progress and a finished work. The database of sound objects can always be added to, or subtracted from, in order to create new and different versions of the same piece.