I start from the principle that composition is a historical lineage of techniques that have traditionally been applied to music but need not be. To illustrate this, I apply composition principles to the writing of this PhD thesis. In describing this process, I draw parallels between the musical work I have composed during 2013-2017 and the process of thesis writing. Along the way, I show how quantization is not only central to my composition practice but fundamental to the act of composing; I rethink the basic epistemological principles of PhD research, using John Cage's ideology of chance and Arthur Koestler's idea of bisociation; I develop a new set of categories for classifying artworks that use combinatorics, under the umbrella neologism "completism"; expand upon James Tenney's ideas to create a new typology of musical form based on completist principles; and finish by composing the bibliography, font, page-layout, semantics, word choice, and syntax of the Conclusion of this thesis. Available to read as of 4 Jan 2018.
CeReNeM Journal #5 (2015)
Full documentation for the New Fordist Organization's exhibition at GEMAK, The Hague, NL between 7-28 June 2013. Much expanded and more in-depth version of the Exhibition booklet including full works list, extended conceptual writing and comprehensive documentation of all works produced.
Programme Notes (2017) [programme of Cut and Splice Festival 2017]
Written for the Cut and Splice Festival 2017 curated by Distractfold.
If you would like programme notes for your event/CD etc. please contact me.
Some Thoughts On The Limits Of Musical Form And The Way Children Tell Stories (2017) [standalone]
Some thoughts about musical form.
A Biscuit Is Not A Jaffa Cake - A Riposte to John Croft (2015) [standalone]
An essay critiquing John Croft's Composition Is Not Research article from Tempo
Virtuosity, Flow, And Re-Notating Modernism (2013) [Master's Research]
A paper which proposes a new theoretical framework for virtuosity and re-considers Csziksentmihalyi's idea of "flow" in relationship to the re-notation of Karlheinz Stockhausen's Gruppen and Brian Ferneyhough's Bone Alphabet
What is "New" About New Fordism (2013) ["The New Fordist Manifesto" Residency Report]
ACES 004: A Mew Fordist Guide To Painting With Acrylics (2013) ["The New Fordist Manifesto" Residency Report]
ACES 003: Composition Competitions 2010 (2013) ["The New Fordist Manifesto" Residency Report]
Some Further Sadomasochistic Aspects Of Musical Pleasure (2012) [Much Too Much Noise: Issue 2] download pdf
The Veracity of Sociological Modelling in Political Music (2014) [standalone]
Paper about how people misuse sociological modelling in "political" music.
Time, Flow, Gravity and Uncertainty (2012) [standalone]
I think this was a section excised from my Master's thesis. Has been sitting on my hard drive for about 3 years. Proposes that every notation has a "mass" that warps the perception of time.
Style and Markets (2013) [Writing And Indifference]
ACES_001: Public Funding, Music, and Sub-Prime Culture in The Netherlands (2012)
An analysis of the Dutch funding system for music and the implications that the relationship between art and money has for the future funding of the creative industries
Perception and The Golden Section (2010)
A look at a possible way of combining exponential-time perception and the Golden Mean.
A collection of short pieces on different performers and composers featured in the Weisslich concert series.
On The Spice Girls (2008)
A look at the legacy of the pioneering girl group.