About Me
Beethoven was my first love. Then it was jazz, rock, free jazz, free improv, and the avant-garde. Then lofi, banda, EDM, punk, and ska. I spend most of my creative time using computer music environments (Pure Data, Ableton) to create things in the overlap of jazz, noise music, metal, and global classical/folk traditions. Imagine a mashup of Terry Riley, John Coltrane, Merzbow, Gesualdo, and Haendel curated by Wendy Carlos.
The beginning of my career was spent as a musician, teaching at the International School of Music in Washington DC and playing new music on the East Coast. I worked with really cool artists including Tom Delio, Ron Stabinsky, Tatsuya Nakatani, Rhonda Taylor, Kjell Nordensen, Stanley Zappa, Michael Foster, Michael Evans, Robert Morris, Andrew Mead, The Pittsburgh New Music Ensemble, The The Great Noise Ensemble, and Inscape Chamber Orchestra.
In 2011, I co-founded JACK (jackny.org), a Brooklyn based performing arts space which focuses on modeling equity and justice in the experimental arts. JACK won an OBIE and has developed into an incubator for voracious emerging artists. I worked long days on site managing events and creating programming, and I developed JACK's music programming which to date has presented hundreds of internationally renowned artists in Clinton Hill Brooklyn. including Evan Parker, Thurston Moore, Okkyung Lee, Peter Evans, Daniel Carter, Louise D.E. Jensen, Joe McPhee, Cactus Truck, Ingrid Laubrock, Brian Chase, Mark Dresser, Tatsuya Nakatani, Kojo Roney, Borbetomagus, Ron Stabinsky, William Parker, Ron Anderson, Isabelle Dutoit, Michael Foster and others.
While at JACK, I also started getting work as a sound designer for theater and other types of live performance. A personal artistic renaissance began, with immersive productions of Hoi Polloi productions including Baal, Toshiki Okada's Quiet, Comfort, Plato's The Republic, WGRG-TV, Beckett, etc. Because I came from outside the theater scene, I didn't have the same mental constructs of what theater "is" or "should be"; I just focused on what was novel, moving, and unique. It turned out to be a great outlet for creative and interactive composition.
Since then, I've worked hard to integrate the sound designers' tool kit into my professional work. Over the past decade, I've developed hardware and software audio solutions for a diverse list of applications including performance spaces, commercial audio products, interactive systems for audio processing. Artistically, I've produced sound/music for original work by an extensive list of critical contemporary voices (playwrights) including Zora Howard, Emily Feldman, Lily Padilla, Anna Moench, Steph Del Rosso, Ella Rose Chary, Keiko Green, Kate Hamill, Nathan Davis, and Charles Smith. I've taught sound design/music performance at the University of California San Diego and Ohio University.
Even though I'm passionate about live performance, I'm also a total tech nerd. I started programming in Pure Data in 2012. My desire to replicate and play with digital versions of my favorite electronic musicians lead me to research interactive processing and generative musical systems as early as 2014 (well before the A.I. boom). I continued to be artistically inspired by work in digital signal processing, audio algorithms, analogue synthesizers, physics, sampling theorems, binaural rendering methods (HRTFs, BRIRs), spatial audio paradigms, and multi-channel composition. I like to think that by understanding the hidden structures and maths behind existence and storytelling, I can make art that is cutting edge yet completely relevant.
One of the great joys of this type of work is travel. I've toured across the US, Europe, and Korea. In 2022 I joined the Board of the International Computer Music Association and attended their conferences in Utrecht, Seoul, and Hamburg.
My mentors include: Jean-Michel Goury, Shahrokh Yadegari, Miller Puckette, John Sampen, Tom DeLio, and Dale Underwood. I am eternally grateful to all of my teachers for their perspectives, attention, and for what they helped me to discover; I'm still working to pay them back.
The beginning of my career was spent as a musician, teaching at the International School of Music in Washington DC and playing new music on the East Coast. I worked with really cool artists including Tom Delio, Ron Stabinsky, Tatsuya Nakatani, Rhonda Taylor, Kjell Nordensen, Stanley Zappa, Michael Foster, Michael Evans, Robert Morris, Andrew Mead, The Pittsburgh New Music Ensemble, The The Great Noise Ensemble, and Inscape Chamber Orchestra.
In 2011, I co-founded JACK (jackny.org), a Brooklyn based performing arts space which focuses on modeling equity and justice in the experimental arts. JACK won an OBIE and has developed into an incubator for voracious emerging artists. I worked long days on site managing events and creating programming, and I developed JACK's music programming which to date has presented hundreds of internationally renowned artists in Clinton Hill Brooklyn. including Evan Parker, Thurston Moore, Okkyung Lee, Peter Evans, Daniel Carter, Louise D.E. Jensen, Joe McPhee, Cactus Truck, Ingrid Laubrock, Brian Chase, Mark Dresser, Tatsuya Nakatani, Kojo Roney, Borbetomagus, Ron Stabinsky, William Parker, Ron Anderson, Isabelle Dutoit, Michael Foster and others.
While at JACK, I also started getting work as a sound designer for theater and other types of live performance. A personal artistic renaissance began, with immersive productions of Hoi Polloi productions including Baal, Toshiki Okada's Quiet, Comfort, Plato's The Republic, WGRG-TV, Beckett, etc. Because I came from outside the theater scene, I didn't have the same mental constructs of what theater "is" or "should be"; I just focused on what was novel, moving, and unique. It turned out to be a great outlet for creative and interactive composition.
Since then, I've worked hard to integrate the sound designers' tool kit into my professional work. Over the past decade, I've developed hardware and software audio solutions for a diverse list of applications including performance spaces, commercial audio products, interactive systems for audio processing. Artistically, I've produced sound/music for original work by an extensive list of critical contemporary voices (playwrights) including Zora Howard, Emily Feldman, Lily Padilla, Anna Moench, Steph Del Rosso, Ella Rose Chary, Keiko Green, Kate Hamill, Nathan Davis, and Charles Smith. I've taught sound design/music performance at the University of California San Diego and Ohio University.
Even though I'm passionate about live performance, I'm also a total tech nerd. I started programming in Pure Data in 2012. My desire to replicate and play with digital versions of my favorite electronic musicians lead me to research interactive processing and generative musical systems as early as 2014 (well before the A.I. boom). I continued to be artistically inspired by work in digital signal processing, audio algorithms, analogue synthesizers, physics, sampling theorems, binaural rendering methods (HRTFs, BRIRs), spatial audio paradigms, and multi-channel composition. I like to think that by understanding the hidden structures and maths behind existence and storytelling, I can make art that is cutting edge yet completely relevant.
One of the great joys of this type of work is travel. I've toured across the US, Europe, and Korea. In 2022 I joined the Board of the International Computer Music Association and attended their conferences in Utrecht, Seoul, and Hamburg.
My mentors include: Jean-Michel Goury, Shahrokh Yadegari, Miller Puckette, John Sampen, Tom DeLio, and Dale Underwood. I am eternally grateful to all of my teachers for their perspectives, attention, and for what they helped me to discover; I'm still working to pay them back.