Now

Updated July 2026, from Barreiro, Portugal.

My artistic practice

Since March, I've realised it's made of three distinct parts:

A monologue — improvised soundscapes from concrete sounds, whether from archives or my own recordings.
A dialogue — playing with other musicians. Embodied in Somitsu, a duo with drummer Bruno Afonso: his drums against my concrete sounds, dense and sparse (疎密). Second collaboration after Barreiro Improvised.
An instrument — the Chaos Conductor.

Chaos Conductor

Finding the right interaction time constant: not too short (requires high-level dexterity), not too long (autonomy, not an instrument). Aiming at flow: practice hard enough to reward, easy enough to stay out of its own way.

JUCE/C++ VST3 plugins in a backgrounded Reaper, driven by a bespoke web dashboard over OSC — portable and DAW-agnostic.
The paper, "Building a Music Performance Software for a Wandering Mind and Clumsy Hands," is accepted to SMC 2026.
Small browser-based study tools: WebMIDI and WebAudio are capable enough for real rehearsal in the browser.

On my mind

Expectation, pulse, structure.
- The Conductor knows time only at the microscopic scale — Poisson event distribution, Markov modelling. It misses memory, expectation, something to deliver or withhold.
- The opposition between structure (a sequencer) and randomness (the early Conductor, fully decorrelated).
- Drawn to footwork's deterministic drive — Jlin's Dark Energy and Black Origami, a revelation — against my refusal to make the instrument a sequencer.
Alienness, and Claude. Meeting Claude as a different species, hard when it comes packaged as a tool with a function. Rereading Speaker for the Dead for how Card works through otherness — also a fine novel.
Career transition from technical translation to inventing on principle. My principle is human fuzziness.

Previously: March 2026.

This is a now page.