Heretic is an artificially intelligent computer music system to be used within the context of collaborative human-machine free improvisation. Heretic is written in the SuperCollider programming language with specific aspects of the system implemented in the machine learning software Wekinator. The motivation behind Heretic’s inception was not to design a mirror into my own improvisational practice, but rather to use machine autonomy to enable Heretic’s own improvisational voice and modes of musical expression to materialize. Heretic demonstrates how a shared improvisational language can be used as collaborative infrastructure between the human performer and machine to spontaneously create ever-changing musical frameworks and gestures.

Edging Study

“I travel with a boom box. When I get on a plane, I stuff the power cord for the boom box into the battery compartment. From an outsider's point of view, it looks like I've got it all wrong.” - Mitch Hedberg

Edging Study is an exercise in control, transference, and flux. Two musicians navigate their way through mutable improvisational language spaces as suggested by a custom software program.

Hunter Brown: Composition, Drums, Electronics, Programming
Toby Summerfield: Guitar, Electronics (

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Contingencies_v1 is a performance system for cornet, electric bass, percussion, and autonomous computer agent. Each version of Contingencies is designed for a specfic group of improvisers. The autonomous computer agent actively attempts to destabilize the ensemble’s collective musical language as a means of enabling unpredictable and spontaneous musical moments. By situating both human and machine on the same plane of creative autonomy, Contingencies_v1 induces an anarchic state of collaborative music making in which a volatile sonic landscape emerges.

cornet: Taylor Ho Bynum (

bass: Toby Summerfield (

percussion: Hunter Brown

Audio by Sangwook "Sunny" Nam (

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String Quartet #1

For String Quartet, Metal Feedback Instruments, & Computer

Premiered by the Mivos Quartet (

“You must be ready to burn yourself in your own flame; how could you rise anew if you have not first become ashes?”- Friedrich Nietzsche, Thus Spoke Zarathustra

The exquisite and often fetishized sonority of the string quartet instantly molders when placed within an unruly and vicious feedback circuit. Turbulent circuitry and haphazard metal refuse mangle, disfigure, and adulterate the string quartet down to a simple vessel for acousmatic sound. This sonic dilution veils the audience’s auditory and visual perception of the string quartet into a nebulous shadow of monolithic glitch and fragile noise.

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Falter/Cleanse is a single movement work for viola and electronics that explores moments of pointed turbulence and acute vulnerability. The electronics act as a surgical lens: exposing and exploiting the viola’s intrinsic yet subdued noise, in turn coaxing the viola's salient warmth to turn strident and belligerent with a touch of lingering softness.

Viola: Aaron Karp (