I D E A T I O N A L  P R A C T I C E

                       Musically I aim for the layering of harmonies, long-durations, trances, the disfiguration of voices and instrumentals, and a transformation of multiple sources – all within the intuitive logic of an improvisational naivety. I aim for a globality of sonic vistas, created from many dozens of particulars, creating and organizing sonic characters that become reuseable materials for live-mixing. I compose music and sounds in terms of situations, silences, and or micro-sonic subtleties. I try to feel for the gaps and the sweet-spots, thus sharing in an ideational capacity with the erotics of abstraction as found in other art forms, such as poetry, philosophy, film-making and sculpting.

            Working with voice or speech, I encounter a lot of noisy artifacts. Since there is no real repetition to the voice due to changing formants and the grain of the voice (it is a nonlinear production of sound), I aim to discover interesting musical results using the noisy artifacts that emerge between each wave cycle. Noise sources are sometimes made into strings of pitch beads, each in an arbitrary timbre – sometimes high, strutted, or made into slow and random melodies.

            Synthesizing newish sounds is like transforming the phase spaces of a sound object: a sound object can be transformed into multiple imaginary lines, transmiting experiences across levels of re-normalization and re-alienation. Yet, it is not just about making interesting sounds or discovering sound objects, it is mostly about the process of listening, which is shaped by an interrelational politics and a poetics of humbleness. Listening, especially, has a lot to do with being aware of how we are thinking – it is being self-reflexively aware of the intracies of language or naming.

                                                                             ︎ New Interview with C Magazine

             My work is also collaborative: exploring and playing with peculiar ideas in small group settings, using materials as vectors for abstraction. The group can be live, amongst friends or comrades, or it can be imaginary, alongside authors. I look to collaborators and authors for choreographies in the same way that I care for or feel for sensations on my skin. With an interest in moirétic (overlapping) practices (many forgotten) and philosophically recombining my work in critical conversations, I hope to engage with multidisciplinary networks and platforms.

            There is sometimes this sense of urgency  to unravel in the collective context, sharing interests in the rights for a collectivity wherein the balance between trust and listening is a given. How far the individuation of the self goes to inform musical abstractions is a pertinent question for me.

S O U N D 

                L I F T I N G - L I F T I N G  W A T E R

                Y O N E D A  L E M M A  S e l e c t e d  W o r k s

                A R - K  S e l e c t e d  W o r k s  

                w| R à d i o  W e b  M A C B A   

                C a l m  C a n  O n l y 
                M a k e  I t  F a l s e   


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                w| D - N - E   
                w| L a b o r i a  C u b o n i k s 

                B u t o h  &  T h e a t r e 

                F i e l d  R e c o r d i n g
                A Q U A  M E R C U R I A L I S

                A N T I - W O R L D S   

                X E N O L I S T E N I N G

                W E B  E X P E R I M E N T S

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                R E M (A) I N D E R S
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                E R O T I C  G E S T U R E S 
                O F  A B S T R A C T I O N
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 A B O U T

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