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I began with short improvisations recorded with a MIDI keyboard connected to my computer. For instance, I’d improvise arpeggiated chords that could work well as an intro or rhythmic patterns that could be worked into a snare drum part. Using a machine learning toolkit in Max, a visual programming language for music, I used these recordings to train a model that predicts the next most probable musical event in a sequence based on the current situation. This model was then let loose to create new recordings that followed the probabilities in my recordings. I sifted through these generated recordings to create the harmonic, melodic and rhythmic framework of the work.  The lyrics were generated using ChatGPT-4 with a message to write 50 poems based on parallels between pharmacotherapy for mental illness and AI-generated content in regards to feeling like you no longer own, control or have access to your true emotions. Exceptionally expressive as well as intriguingly ambiguous results were pieced together and occasionally modified to form the lyrics.   These lyrics, as well as the music generated in Max, was used to map the vocal parts using the VOCALOID:AI vocal synthesizer, which learns and models the characteristics of a real singer’s voice using deep learning. These components were then all brought together in Logic, a Digital Audio Workstation, and built upon to finalize the result.  AI tools used for lyrics and music  GPT-4 Machine Learning Toolkit for Max by Benjamin Day Smith MIDI-Trained Markov Chain patch for Max by Samuel-Pearce Davies VOCALOID:AI (Free Trial)

With this song I explore the feelings of disconnection and alienation from myself and my thoughts through an imagined narrative of a non-human intelligence plagued with a similar struggle. In this parallel narrative, the entity questions the extent to which it can claim to learn, to think, to grow. New lines of code perpetually remedy these issues as it struggles with epistemology and identity.
15 years ago I was diagnosed with bipolar disorder and began a twice daily regimen of psychiatric medication. The episodes of mania and depression  as well as the antidepressants and mood stabilizers I was prescribed stirred questions in me about my authentic self as well as the extent to which I could claim ownership of my emotions and ideas. 

Trained and produced by Carmel Freeman 


A pair of shoes, their identity concealed by a cloak of toilet paper, glue and scraps. The shoes are in control: manipulating the voice of Nike creator Phil Knight, disintegrating a video of Iraqi journalist Muntazer al-Zaidi throwing his shoes at then-US president George W. Bush.

Created and performed by Carmel Freeman


Breath is process. Air enters and exits the lungs. Cyclic movements. Repetitions. Follow your breath as you listen. Learn from your breathing. Place yourself in a room that is silenced by noise. Place yourself in a room that echoes with silence. Give yourself room to explore different modes of listening. Give yourself permission to disorganise your hearing. See what follows you.


Sander Bos - Harp

Composed by Carmel Freeman


Oiseau/tsipor/vogel/bird mean the same thing but feature their own musical activity. The discreet sound components of the words are graphed using phonetic categories for speech sounds and assigned a register. Players must, through their instrument, connect to the timbres of these utterances and splinter the divide between language and music.


Nina Künzel - voice

Agnes Eyja Gunnarsdóttir - violin

Jan Zygmunt - cello

Carmel Freeman - composition, piano, foot flute



Everything that will happen has happened and is happening. The flesh of time is revealed by an awareness of its non-linearity. Capturing this infinite moment proves difficult for a video camera struggling not to travel forward in time.


Carmel Freeman - Composition, Video Manipulation, Guitar, Radio, Electronics Nina Künzel - Voice Mireia Costa Viladrich - Violin


Scientists have demodulated recently discovered signal transmissions received by trees as antennae. For the first time, this sound world is untangled and unmuted. Is this communication? Is this entertainment? Who owns these sounds?


Consciousness can be simulated in a computer. Nano-machines transformed planets into computers. A single planetary computer runs millions of ancestor simulations. With simulated consciousnesses outnumbering biological ones, I am likely a simulation. 



A simple measurement has taken on a completely new meaning. As well as being performed in quarantine, the musical gestures are shaped by a social distancing architecture that has forced us to be both linked and detached, intertwined and isolated.


Maria Martpay - Marimba

Mayuko Takeda - Bass Clarinet

Ola Kwiatkowska - Violin

Chema Martinez Martinez - Violoncello


Composed by Carmel Freeman

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