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Description
Experiments with the use of glitched-out 8-bit sounds and chiptune melodies.

"It is understandable that some cultural composers may advocate the use of symbolic-oscillations in their work, concurrently with innovative isorhythm-pitch-classes, but integrally, cultivating a wider array of chords (or even arrangements) is the better approach. Rather than spatially composing provocative vibrations, I now prefer integrating semantic types of device, in conjunction with highly symmetrical modules. In simple terms, inverting polychord-phrases (in addition to rejecting dissonant microtones) is one of my most radical approaches to post-Webern composition. In my most recent work, ideas, cadenzas and post-Stockhausen reactions are all used within post-serially-pre-recorded frameworks, allowing the audience to re-bar a variety of 20th-century pieces. Combining isorhythms, non-linearities and idioms (as well as chromatically dismissing soundscapes), my overall aesthetic is that of the 'solitarily-temporal' school of microtonal processes. I am very much influenced by the idea of abandoning quasi-chromatic improvisations, particularly whilst combined with a highly aleatoric approach to phrases."

#AI_art

Description
Experiments with the use of glitched-out 8-bit sounds and chiptune melodies.

"It is understandable that some cultural composers may advocate the use of symbolic-oscillations in their work, concurrently with innovative isorhythm-pitch-classes, but integrally, cultivating a wider array of chords (or even arrangements) is the better approach. Rather than spatially composing provocative vibrations, I now prefer integrating semantic types of device, in conjunction with highly symmetrical modules. In simple terms, inverting polychord-phrases (in addition to rejecting dissonant microtones) is one of my most radical approaches to post-Webern composition. In my most recent work, ideas, cadenzas and post-Stockhausen reactions are all used within post-serially-pre-recorded frameworks, allowing the audience to re-bar a variety of 20th-century pieces. Combining isorhythms, non-linearities and idioms (as well as chromatically dismissing soundscapes), my overall aesthetic is that of the 'solitarily-temporal' school of microtonal processes. I am very much influenced by the idea of abandoning quasi-chromatic improvisations, particularly whilst combined with a highly aleatoric approach to phrases."

#AI_art