Noctus Labyrinthus (2018, 16ch, 12 min.)
The initial source of this piece are the four short electronic interludes within “Valles Marineris“: an instrumental piece composed by Ángel Arranz (involving more than 100 saxophones), which was performed during the Chasmata concert that took place in the Guggenheim Museum, Bilbao, last year . The programs I used to create the four electronic interludes have been extended, reworked to form a new piece that was specifically composed for a Azimuth concert that took place on 24th of March in The Hague.
The musical materials within Valles Marineris were inspired by scientific images taken by the Mars Express Orbiter (from ESA), which feature enormous geographic structures on planet Mars. A brief section at the start of the piece is a direct audification of the raw data coming from the orbiter (made by composer José López-Montes). The rest of the electronics are formed in a somewhat similar fashion as the geography on Mars: streams of values are eroding through a vast numerical possibility space. The title comes from “Noctis Labyrinthus”, which is the most western part of the Valles Marineris, the largest canyon on Mars.
Thanks to the Azimuth team for giving the opportunity to work for multiple days on their fantastic speaker system.
 A video recording of the Chasmata event is available on youtube: https://youtu.be/bACH
Spherical Cow in a Vacuum (2015, 4ch, 8 min.)
The title comes from a joke:
Q: How does a physicist milk a cow?
A: Well, first let us consider a spherical cow in a vacuum…
“A spherical cow is a humorous metaphor for highly simplified scientific models of complex real life phenomena. The implication is that theoretical physicists will often reduce a problem to the simplest form they can imagine in order to make calculations more feasible, even though such simplification may hinder the model’s application to reality.” (from Wikipedia)
In this piece, the programs used to generate sound have similar (over)simplified models of harmony, musical progression, timbre en rhythm.
Spawn (2011, 8ch, 7 minutes)
A piece resulting from writing ChucK programs that write values straight to the dac. It was composed to be played in a larger space, it’s short impulses triggering the acoustics of the space.
Once Upon a Time in a 4k Memory Buffer (2010, 4ch, 10 min.)
A non narrative poem on the nature of digital sound. This piece should not be played softly and preferably on loudspeakers.
Twaalf Klankvariaties (2010) 4 track tape, 14 minutes
In the development of this piece I tried to use a different approach to the large form. Instead of first creating material and then finding a suitable form for it, my starting point was composing a structure that could both be used for the large form as well as the material from which it is constructed.
The Deep (2009) 8 track tape, 15 minutes
This was the piece I composed for my final exam at sonology.
It features many sounds created by my software written in Python
and Csound, that are further transformed in Max/MSP patches.
Analog repetition (2008), 4 track tape, 6 minutes
This piece was made by using midi to control the analog
equipment in of the analog studio at Sonology.
Jimi (2008), 4 track tape, 6 minutes
Based on distorted digital feedback loops
Reflective Surfaces (2007), 4 track tape & 16 channel WFS
Quite Analog (2006), 4 track tape, 7 minutes
With sounds created exclusively in the analog studio at Sonology