T∆PE GHØST is my opportunity to explore the relationship between new technology and music.
I’m a recent graduate of the Masters of the Arts program at the Center for Computer Research in Music and Acoustics, alma mater of notable composers John Chowning, Robert Rich, Holly Herndon, and Chris Chafe. I graduated with a Bachelor’s degree in Electrical Engineering with an Honors in Interdisciplinary Arts for a performance and thesis examining the relationship between technology and improvisation. My composition work often focuses on the explorations of the potential of a pattern or the sonic power of ambient drones and slowly evolving textures. In contrast, my performance style focuses on translating human motion and energy into electronic music. My influences are Steve Reich, Phillip Glass, Brian Eno, Ryuichi Sakamoto, Miles Davis, Wayne Shorter, Bill Evans, Richie Hawtin, KiNK, and Carl Craig, Voices From the Lake to name only a few.
So what’s with the name?
TAPE comes from the physical medium of recorded audio and GHOST represents the idea of a spiritual residual.
The alias “T∆PE GH∅ST” is derived from my desire to explore the way in which humans anthropomorphize the material created by an artist in their lifetime. Not only does their art have a life of its own within the viewers experience, but it simultaneously becomes the representation and living memory of that artist. In my own life, I have experience how the entire essence of a person is titrated down into a collection of objects and memories after the death of my father. His memory is contained most strongly in the photographs he spent days developing and crafting. While working in the darkroom, he would often dictate his process onto a tape recorder. It wasn’t until many years later that we found those recordings, which are the only record we have of his voice. Long after our weak minds have lost the ability to recall the look of their face or the sound of their voice, we are only able to experience them through the selective media left behind. As we view the photographs of him or listen to his voice, we want to always say that it is him… but “Ceci n’est pas une pipe.” It is about the struggle between the Non-representational and the representational in art, the way in which our experience can be boiled down entirely to perception, and that our perception of our own life can be drastically altered by the right soundtrack.
A Review by the Stanford Daily of my album “[ ]”
A Review by the Stanford Daily of one of my on campus shows:
An article in the Stanford Daily about the musicians on Campus:
A piece written about my last project exploring the intersection of improvisation, electronics, and identity in music.
Another article written about my Honors Thesis on improv, electronics, and identity in music