SURFACE STUDIES & OBJECT STUDIES are two interlinked series of thought compositions, which explore a number of topics related to “things” and our understanding of their nature including — the representation of things, the absorption of content, disruptive technologies, realty perception, preciousness, object identity.

SURFACE STUDIES, is a series of works that consider the nature of three-dimensional objects represented through various two-dimensional mediums such as paper, carbon-paper, phone screens, etc., which are ultimately interpreted by a performer in the undefined dimensional world of sound.

bioTech (2020)
Natural Elements (2019)
Insta-Meta (2019)
surfaceNetwork (2019)

OBJECT STUDIES, takes a new approach to the process, three-dimensional objects are described on paper using the fairly antiquated technique of illuminated manuscript on a special contact amplified surface designed in tandem with a close miking system to capture the sounds of nibs, ink, and paper. Sounds from the illuminated manuscript process are processed in real time through the use of interactive gesture based technology, that at once highlights the preciousness of sound, whilst exploiting the spaciousness of a performance hall.The product of OBJECT STUDIES is a letter, which serves as a score for another realisation of SURFACE STUDIES — whereby a performer uses the description of an object they haven’t seen to interpret the energy of that object through the medium of sound — as such any performance of OBJECT STUDIES ends when the letter has been fully addressed and sealed with a wax stamp.?

Obsolete Data (2019)

Regression to the Mean (2016)
An exploration of object theory through the lenses of actor network theory, object oriented ontology, as well as undermining, overmining, and duomining. Written for flute, DiZi, destruction flute, electronics, projection, and movement — Regression to the Mean unfolds as an interdisciplinary sonic ritual, that requires the performer to enter the headspace of each object philosophy and to reject a great deal of convention in the manner that they interact with their instrument as an object. This work was composed for the flutist Miguel Hijar.

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