As sound synthesis technology advances and proliferates, the tools we use to create music hold increasing immaterial influence over our creative capacities and understanding. This research investigates the degree to which human interfacing with sound synthesis technology for sound creation affects us on core sensory and psychological levels, and how technology manifests as a mode of comprehension.
Electronic music literature increasingly intersects with other fields, so this research embraces an interdisciplinary approach.
Stochastic Genesis adopts a practice-based research approach, where studio experimentation and analysis formulate enquiry, and the application of technology for creative purposes acts as means of revealing. The research draws from sound and synthesis theory, philosophy, complex systems theory, and contextualises the studio practice in a narrative based on the natural sciences, particularly fundamental physics, biochemistry and theories surrounding the emergence of life on earth. The project’s validity was inspired by increasing democratisation around electronic music technology, (most people have access to a computer which can run music production software, some of which is available for free) and growing emphasis around sonic art and sound design in academia, evident in our own institution (with expanding courses, electives and research surrounding sound theory, sonic art, digital/electronic music and ambisonics).

A print copy of this thesis is available in the GSA Library.