I have had an urge to blur the line between my work with video and my writing of music for some years now. The two mediums have been separate entities within my artistic practice since its early days, and to some extent my practice has always been of audiovisual character. As a teenager I realized I had an interest in rhythm whilst editing skate videos to electronic music, a revelation that not only led me to create music videos and attempt VJ-ing, but also to pursuit digital music production and composition. My video work, mainly filming and editing footage, has since always been carried out in connection to my own, or others music. Despite the connection being present I have inadvertently managed to keep the processes separate, as two parallel ways of working, pursued one after the other, with a bold differentiating line in between. I thought I could arrive at new depths of interconnection following the traces of my bachelor’s thesis in Music and Sound Production, with a focus on Binaural sound for electroacoustic music. I applied to the master program in Experimental Composition and Creation with the ambition to further explore writing and performing music in Ambisonics and other surround sound formats, and I had a vague idea that spatialization could act as compound in me fusing my visual and sounding art.
The final steps of a draw-out album process with my band Post Pines coincided with me entering the Master's degree program. After an intense year of writing, producing, and mixing in my DAW of choice, Ableton Live, I was not that eager to open the arrangement view and get back to work as usual. Instead, I started my master's project with an underused and unexplored tool at my disposal, a small Eurorack modular synthesizer setup. I acquired some secondhand modules and begun experimenting with random control voltages thinking they could be fruitful control signals for spatializing sound sources. The randomness brought life into the modular synthesizer in ways I did not expect. It not only helped me form a modular mindset of sorts, but it also sparked my interest in aleatoric compositional techniques and non-linearities on a general level. Based on the idea to step away from a timeline perspective I was also eager to try some new tools and techniques for handling the visual side of things. I put my camera to the side and left my familiar milieus for editing and animating, Final Cut Pro and Adobe After Effects and started conducting experiments in the visual programming platform Touchdesigner. I quickly realized how related the workflow was to the modular synthesizer, how concepts and signals could be applied and shared between the two. This both physical and mental connection forged a new path for this project and hinted at a way to arrive at an entangled practice where the connections themselves where at the core.