His instruments, participative installations and research have been presented within CTM Festival 2023 in Berlin, Goethe-Institut Venezuela and within HKW Berlin, Centre Pompidou in Paris and CCCB in Barcelona through the Cultures d’avenir program.
In parallel, he works as a freelance IDE (Innovation Design Engineer); Prototyping tools for learning, well-being, and creative expression in collaboration with EdTech/HealthTech enterprises, startups, universities, and clinics.
GAS Works
2024 - Present
In contrast with the previous EP (which is driven by compositional methodologies and a systematic understanding of music) this project takes a more narrative approach.
Based on the cover picture, the EP examines a feeling of futurestalgia that is commonly present today in Venezuela (”what we could’ve been! ”). Informed by Hauntology, It probes the melancholia of a “lost future”: the spectral presence of paths foreclosed, plans deferred, promises that linger as atmosphere.
On an asthethical level, this project focuses on sound design processes to create an atmosphere that evokes a phisically transitive condition like that of wind, noise or gas. Here are two of the main compositions of this EP:
- Luna llena: This is the central composition of the album; it’s eerie nature drives the EP’s mood. It is cut through 3 different parts throughout the EP in between the others songs, creating an overarching feeling of an evolving-comeback. For this Simón Díaz’s Tonada de luna llena is sampled and reharmonized (using Paul Nasca’s Paulstretch algorithm); Long recognized as a Venezuelan folk standard of the llanera tradition, the piece’s moonlit imagery and work-song cadence are woven into the nation’s cultural memory.
- Fading/reconstruction (DEMO / Unmixed): Composed through an evolving loop sample that exclaims (”the truth: we are all fading”), the song reimagines a scenario of a demolished nightclub. I conceived this song under this project as a form of “coming to terms” with the cyclical processes of construction/demolition embedded in nature.
2024 - Present
In contrast with the previous EP (which is driven by compositional methodologies and a systematic understanding of music) this project takes a more narrative approach.
Based on the cover picture, the EP examines a feeling of futurestalgia that is commonly present today in Venezuela (”what we could’ve been! ”). Informed by Hauntology, It probes the melancholia of a “lost future”: the spectral presence of paths foreclosed, plans deferred, promises that linger as atmosphere.
On an asthethical level, this project focuses on sound design processes to create an atmosphere that evokes a phisically transitive condition like that of wind, noise or gas. Here are two of the main compositions of this EP:
- Luna llena: This is the central composition of the album; it’s eerie nature drives the EP’s mood. It is cut through 3 different parts throughout the EP in between the others songs, creating an overarching feeling of an evolving-comeback. For this Simón Díaz’s Tonada de luna llena is sampled and reharmonized (using Paul Nasca’s Paulstretch algorithm); Long recognized as a Venezuelan folk standard of the llanera tradition, the piece’s moonlit imagery and work-song cadence are woven into the nation’s cultural memory.
- Fading/reconstruction (DEMO / Unmixed): Composed through an evolving loop sample that exclaims (”the truth: we are all fading”), the song reimagines a scenario of a demolished nightclub. I conceived this song under this project as a form of “coming to terms” with the cyclical processes of construction/demolition embedded in nature.
Project cover image: Matúškovo gas station and the night. Picture taken by Tomáš Souček, edited by me. All rights reserved.
Berlin 2019-2023 Compilation (EP title TBC)
How can we design composition systems where the creative process is inherently shared between different entities?
Inspired by the cybernetic notion of control, I tested composition methods that distribute creative decisions across multiple agents: from human performers working within pre-constrained loop systems to sequencing with random modulators and chance-based symbolic interventions.
Beyond the traditional, post-Eno notion of generative systems as “programs that autonomously make music”, I was fascinated to understand the possibilities of how specific design decsions can enable the creative actors freedom from their own judgement and self-perception in the state of creation.
The following are some outcomes from these explorations:
- 16.10.20: This track was collaboratively composed with Mixhael Offenbacher utilizing a still-evolving custom Ableton session view recording preset I designed using Clyphx (Ableton live script). It aims to utilize Ableton as a looping station with multiple clocks, essentially a multipayer looper. The system also works as a generative recorder, the clock intervals define recording times that close and open randomly, creating unexpected results.
- Until infinity: EP central composition. This song was composed using a looping/sampler setup. Arrangement was later done on top of the main sample structure. Second half of the song is still being arranged, this version is cut down at that point.
How can we design composition systems where the creative process is inherently shared between different entities?
Inspired by the cybernetic notion of control, I tested composition methods that distribute creative decisions across multiple agents: from human performers working within pre-constrained loop systems to sequencing with random modulators and chance-based symbolic interventions.
Beyond the traditional, post-Eno notion of generative systems as “programs that autonomously make music”, I was fascinated to understand the possibilities of how specific design decsions can enable the creative actors freedom from their own judgement and self-perception in the state of creation.
The following are some outcomes from these explorations:
- 16.10.20: This track was collaboratively composed with Mixhael Offenbacher utilizing a still-evolving custom Ableton session view recording preset I designed using Clyphx (Ableton live script). It aims to utilize Ableton as a looping station with multiple clocks, essentially a multipayer looper. The system also works as a generative recorder, the clock intervals define recording times that close and open randomly, creating unexpected results.
- Until infinity: EP central composition. This song was composed using a looping/sampler setup. Arrangement was later done on top of the main sample structure. Second half of the song is still being arranged, this version is cut down at that point.
