The work I want to further investigate is based upon a fascination to express complexity as concise as possible. Thus, a form of terse approach to the programming and execution of synthetic sound. In the process the focus is not pointed so much towards how it sounds. I try to remove or mute some of my aesthetic wishes and maybe even alienate myself from the result, if possible. The game, so to speak, is going to circulate around the task of getting as much variation into short functions as possible.

{keywords: [complexity, synthesis, variation]}

An example of my attraction to the brief and concise is the understanding of pattern creation in nature in the area of biological mathematics. This is a total simplification, but before the 1950s, if you wanted to make a mathematical function, formula or equation for zebra stripes, then it was a multi-page, difficult calculation. The most difficult thing was that the stripes are recognizable, its easy to see that it is the same type of stripes, but nevertheless they are never identical. Just like our fingerprints and other patterns in nature. But in 1952, mathematician Alan Turing published a set of equations that sought to explain the patterns we see in nature, from zebra stripes to complex folds in protein molecules, that structures the way cells assembles into a ball inside an organism.

{keywords: [complexity, patterns, biology, mathematics]}



 {kind: code, group: IrregularCertainty, keywords: [SuperCollider, ndef, poem, language, recursion]}

Niklas Adam        bio 


Born in the Danish countryside, currently residing in Oslo, Norway. Works with performance- and installation art in addition to music. 

Been active in the improvised music scene for several years, touring and working in Europe, Japan, Russia and the US.
Collaborations with Mattin, Taku Unami, Toshimaru Nakamura,
among others, and is a part of the Norwegian artist group Verdensteatret, in which I work with sound, performance, programming and electronics.

{kind: biography, persons: Niklas Adam}


in progress

An investigation of chaotic systems, deterministic, non-linear dynamical systems. A threshold based on negative feedback connections, a threshold which is subject to both positive and negative feedback and thereby stable and unstable at the same time – Human interactions (social phenomena) are stable and unstable at the same time and are therefore not credible to predict. Unstable phenomena are per definition non-systemic as they do not satisfy the requirements of being a system

{keywords: [chaos, dynamical systems, systems, feedback, stability, instability]}


The initial concentration for each of the 'sound' morphogens is set such that they are uniform and they form a steady state solution. In order for the system to react and diffuse and hence form a pattern, there must be some instability or asymmetry that drives it from this initial steady state. Which variables, and how much they are perturbed, greatly affects the resulting pattern.

{ keywords: [pattern, morphogenesis, instability]}


 {kind: code, group: IrregularCertainty, keywords: [SuperCollider, ndef, poem, language, recursion]}

meta: true
date: Jun-2018
author: Niklas Adam
event: Thresholds
place: Lydgalleriet


A poem is recursive if the poem itself is used in the calculation. The poem is referring to the poem itself. The poem is fed back into the poem. These recursive poems strive to become stable and unstable at the same time. Each poem holds an immense amount of information regarding how a sound evolves - how it should behave in time and space,

{group: poem, keywords: [poem, recursion, time, space]}