electroacoustic composer

Anima Machina (2006), Acousmatic.

In a technological age, our lives are becoming more dependent on machines, and those machines are becoming increasingly smaller and more intelligent.  This work is heavily influenced by the concept of tiny machines at the atomic level, and their ability to become capable of decision-making and self-replication.  It poses the question, when does the human creator lose control over the invention, a miniature but disproportionately powerful machine, and what might the consequences be?

The work is underpinned by a changing flux between control, restraint and disorder, implied by the behavior of the sound material.  There are references to metal and machinery, although the original source material is likely to be very far removed from this perceived scale of material.  Most source recordings were closely amplified small materials, (various gardening tools, parts of a bicycle mechanism, clocks, and a 'slinky' spring), now given a magnified energy and greater mechanical status through processing.  There is a mirroring of the potential qualities of machines at the atomic level, with key ideas being the implications of friction, surface tension and a dark instability or unpredictability which is inherent with current experiments in the creation of molecular machine systems.

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