Music that exists on the very limit of perception — two or more streams of time, a “time microscope” revealing nuanced relationships invisible to standard rhythm.
A palette beyond 12-TET — from spectral tunings to Erv Wilson’s organic scales, creating richer soundscapes that speak directly to the ear’s physical resonance.
MaxMSP, 3D-printed instruments, isomorphic keyboards, and live electronics — enabling precision without sacrificing the energy of live performance.
The ground the other three stand on. Studying how we perceive sound and time — through cognitive science, the psychology of time, and Helmholtz, Partch, Tenney and Polansky — to compose at the threshold where perception begins to distort. Seven years of semiotics sharpen it further: every listener is a modulating filter of their own experience.
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