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| Christmas 2013 |
2'16'', 2011 |
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| A Christmas song for a world that no longer exists, as crooned by the Anti-Santa strolling a wasteland formerly known as Earth: A repurposing of Tin Men and The Telephone's celebrated Christmas album. |
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| Element Yon |
3'45'', 2011 |
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| Element Yon explores spectral and spatial domains to animate a narrative of tones through the transgression of musical to non-non-representational. |
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| Shadowbands |
2'47'', 2010 |
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| The opening speech to the piece is from a broadcasting of the 2006 solar eclipse which was viewed in its totality at various locations in Turkey. As an out-of-place experiencing of this bewildering event not through the eyes of the man but the machine, the piece depicts "a phenomena impossible to photograph". |
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| Hajime |
6'09'', 2009 |
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| Traversing a voice recording of the composer introducing himself, this work depicts an acquaintance process in a foreign land, in 3 movements, each observed from a different perspective (third, first and second person respectively). |
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| Unreconstructed |
5'55'', 2009 |
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| A piece based on transformations of recording snippets and fabrication of psuedo performances. The references to actual instruments are kept on the verge of the acousmatic, and some are mutated into alien instruments. This is a work in 5 movements ordered as V-I-II-III with the fourth movement yet to be discovered; an unreconstructed aftermath. |
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| Do You Remember Rob Nolasco? |
4'31'', 2007 |
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| This piece was composed in 2007 and it depicts an unresolved mystery in two movements that mimick one another. In 2008, "Do Your Remember Rob Nolasco?" was featured in the short film "A Case of Stairs" by Aydintug and Wikstol, which had several screenings in electronic music concerts in Turkey, UK and US. |
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| Time Machine Samba Loner |
3'00', 2007' |
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| This piece is the first in a series of works on temporal perception by the composer. Though the percussive elements are synthesized, the illusion of an actual percussion band playing is created through sound design and spatial distribution. By establishing a strong beat and phasing in and out loops, the temporal is warped. This piece was used in a succession of subject group studies on temporal perception during the years of 2008 and 2009. |
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| Not How It Happened |
5'09'', 2008 |
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| Originally a piece for cello and live electronics composed in 2007, "Not How It Happened" was revised as an electroacoustic piece and premiered at UCSB Composer's Concert in 2008. The piece is extracted entirely from a section of Charles Manson's parole speech recordings. It is an inaccurate reenactment in 3 movements, of the events that took place on the night of August 8, 1969. |
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| What Does a Scanner See? |
1'31'', 2007 |
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| Today, most mobile devices and computers are equipped with built-in cameras and microphones, contributing to the most extensive surveillance system in history; they watch us and listen to us, with a consistency beyond any human interaction. But what is it that they, as a being, "see"? This short piece is based on the material captured by a laptop camera and the title is a line from the 1977 novel by Philip K. Dick, A Scanner Darkly. |
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| Universes |
2010 |
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| A live audiovisual performance system first premiered as part of Babylon Istanbul Audiovisual Concert Series with collaborating sound artist Erkan, in February 2010. The program renders real-time 3D OpenGL objects parametrized by the performed music. The work explores 3D spaces superimposed on live processed video footage and the relative multi-dimensional spatialization of sound. |
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| A System for Context-dependent Processing of Environmental Sounds |
2009 |
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| Data from multiple sensors contribute to the software-assisted articulation of sonic gestures. In effect, "the environment becomes the composer", allowing a researcher to observe and experiment with correlations between the environmental phenomena and resulting sonic gestures. The system is designed to support research into the effects of environmental context on the perception of everyday sounds, with a goal of investigating the environment as a source of inspiration for electronic music. |
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