With the composition series Intermorphologies, I explore multi-dimensional sound mutations and musical causalities generated electronically in realtime.

Everything you hear – every aspect that constitutes each sound, how those sounds resonate both individually and in combination, how they react and change with each other, how they are rhythmically / temporally organized, and how these sounds move through acoustic space – have been subjected to gradual change operations. All sounds synthesize themselves and each other into existence, evolving sometimes into a new, unknown formation and sometimes into a predicted identity.

With each installment of a piece in the series, I examine different possibilities of these artificial relationships, mutations, and causalities. I regard these realizations not only as systematic investigations into possibilities the instrument may bear, but more so as multiple ways to explore what shapes music can have. How do different sonic renderings and organizations differ in terms of neurological, emotional and physical response?

Next to the relationships between sounds, I also investigate the relations between the machine and myself. Besides preforming with the computer, I also listen and react to whatever the machine proposes.

In this instances, my software is not solely an object but is becoming a subject. Instead of solely being a music which furnishes listeners an object to perceive, I am interested much more in music that is as much reliant upon the process of perceiving, intensifying the perceiver’s and my personal awareness of our own role in the genesis of an aesthetic experience in the here and now.