Fire Synthesis The concept is about understanding the entanglements of natural forces that work to keep a fire burning, in an auditory way. My approach to working with fire is to counter-engineer it, starting with sound as a starting point, and exploring fire from a different perspective.

Fire as an Organic System: When we listen to fire, we hear noises in different frequency ranges. But if we look more closely, we realize that millions of micro-reactions are happening simultaneously. Fire is an oxidation process that has gone out of control. It’s an exothermic reaction: the hotter the fire gets, the better it oxidizes, and the more it oxidizes, the hotter it gets. This positive feedback loop is self-sustaining, growing in size and intensity as long as fuel and oxygen are provided.

Through convection in the open atmosphere, water vapor and CO2, being less dense than the surrounding air, are sucked into the fire. Fire has an even greater impact than just the visible flame. Nearby objects absorb electromagnetic radiation in the form of infrared wavelengths and heat up, which leads to stresses in the material. All these reactions emit waves in audible frequency ranges.

Fire Synthesis is an attempt to recreate these reactions sonically. In the piece, all sounds are synthesized using a modular system, so no audio recordings are involved. To replicate the sonic behavior of fire, I used noise and internal feedback. The book Designing Sound by Andy Farnell helped me understand how to categorize physical phenomena and their sonic representation.

morph This project begins with a vinyl recording of the well-known piece Peter and the Wolf. The original material is manipulated through techniques such as slowing down, speeding up, looping, and layering the beginning and end over one another. These processes abstract the composition, transforming it into a soundscape that evokes similar emotions to the original, while becoming increasingly unrecognizable in its form. Imperfections, glitches, and vinyl noise are deliberately preserved and emphasized as artistic elements. Rather than aiming for clarity or fidelity, the piece embraces sonic flaws as integral to its atmosphere. The result is an emotionally resonant reinterpretation that explores memory, transformation, and the boundaries of musical identity.

Super Collider Granular Synth

Recordings of a Granular Synth build in Super Collider using Noise and macro controls as organic modulators. Sound Material are Wood, Glas, Paper, and Human Voice.