About

For as far back as I can remember I’ve been fascinated by technology, wares both hard and soft. A childhood interest in codes, ciphers, and weird math in the ’70s proved to be prophetic when it transpired that world civilization itself came to depend on cryptography and other digital logics. Just in my lifetime I’ve seen the personal computer go from what’s that? to what possible use is that to me? to ubiquitous pocket communication device to entry key to modern post-industrial society.

Music is an important part of my life, especially electronic music. (Technically, most music requires electronics beginning at some point in the recording chain, but I’m talking about using electronics like synthesizers, samplers, or modules to generate or manipulate sound.) I came of musical age in the mid ’70s, shortly after the Beatles’s White Album and Pink Floyd’s Dark Side of the Moon did their part to expand the range of Western popular music, during a lull that would soon explode with punk and New Wave and the do-it-yourself spirit. Naturally, I picked up on that spirit while in college, starting my home recording practice in 1980 with borrowed and scavenged gear and continuing to this day.

Technologies of reproduction and generation have been a life-long artistic interest, from photography and xerox art to tape loops and sound manipulation, fractals and Processing. I guess my general approach is to attempt to create that which wouldn’t exist without my interest, and subject that novelty to pragmatic testing before asking others to experience it. I want my work to be both timeless and timely, culturally engaged yet transcending culture and speaking to humanity itself (insofar as I as a native West Coaster am able to escape my upbringing).