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The Nulla album is a set of improvisational noise recordings. Within this album, tactile interface is explored to create an organic blend of man and machine through sound. Nulla steps away from the calm and collected methods of Meditations and instead delivers a product that bursts with an aggressive release of empathic data. 


Nulla was recorded prior to Sanctum and was originally meant to be the second album to the Felnyrii project. Though, during the time that the pieces were performed, it was difficult to be content with the work. Recording sessions for Nulla became backlogged as time passed and Sanctum was recorded. Pushing back the project further. Finally, after the experiments for that album finished and Sanctum was released, I felt that I could look at Nulla again and think more clearly about each set's recording periods.

Nulla was an apex at the time for the emotional translation that I had been striving towards. Nulla broke away from the drones of Meditations and Sanctum with particular emphasis on dissonance and fragmentation. This collection also has been the most convoluted of my work, which is a truly accurate interpretation, or perhaps representation, of that particular recording session and period in my graduate career. The deconstruction of my sound and mental state with such drastic discordance and contradiction in the fragmented repetitions allowed myself to dissolve and reform whilst releasing those frustrations and anxieties that were building again with lateness and mortality. “We assume that the essential health of a human life has a great deal to do with its correspondence to its time, the fitting of one to the other, and therefore its appropriateness or timeliness” (Said, 2006). Timeliness was not my experience in these moments. Thoughts raced while standing motionless and occupied my entire being to the point of exhaustion. A burden that was mine to grasp as it broke, buried, and overwhelmed. Though, “emanation is a process of one thing emerging from another” (McNiff,1998) and my performance material is that which emerges from within. Only, really, can I create out of my untimeliness. Death, mortality, and lateness are perpetual loops within myself and my work.


McNiff, S. (1998). Trust the Process: An Artist's Guide to Letting Go. Boston, MA: Shambhala.

Said, E. W. (2006). On Late Style: Music and Literature Against the Grain. New York, NY: Vintage Books.

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