I use (or rather abuse) computers to create musical repetition out of the idiosyncrasies of my own physical performances. Technology is usually used to attempt perfection, to enhance human abilities and eliminate error. But it also tends to erase those undefinable features that can anthropomorphize a work of art to the extent that it embodies the humanness of its creator. Memorializing my mistakes, the unplanned nuances of a particular performance continue to be alive as they slowly transform and fade into the background of future soundscapes.

My compositions are algorithmic “choose-your-own-adventures” influenced by markov chains, legacy composition (where each performance is informed by past performances), instruments designed and constructed by myself, and sound design computer systems built by myself in the programming system Pure Data. With my most recent work for cello and computer, I am exploring my own ability to live with the past as the echoes of every performance continue to inhabit future soundscapes, reminding me of the minutest details of the rooms I sat inside or the people who listened. I often invite someone besides myself to answer the emotional questionnaire which the computer then interprets to create new layers in the soundscape. I am continuously fascinated by the paradox of allowing an algorithm to reinterpret subtle human emotions into musical patterns.