Human FK: How did you get started making electronic music?

thIIIrd: Probably the first time I made some noise with something that could be called electronic was with the Gameboy Camera, which had an amazing mini-game/sequencer that you could put notes into and change up some sounds. But I started computer music in 2006 when I was listening to Diary of Dreams, observing the sounds of the synths. I noted how it seemed so simply composed yet amazing, and I realized I could possibly do something similar using software.

Human FK: What inspired you to create interactive artwork?

thIIIrd: I always want to immerse people with anything I make, whether it’s music or a video or an interaction. I really enjoy making a new landscape where I can take other people and myself. Interactive art seemed to me like a way not only to put people in touch with my music and visuals, but also to utilize my programming experience as well.

Human FK: Do you prefer the process of mixing songs or playing them for an audience?

thIIIrd: I started out just arranging songs and then picked up live electronics, so I have more experience with composing than live playing. However, what I am working on at the moment is combining these two, bringing out live electronic compositions and making songs in real time.

Human FK: Does your art ever inspire your music, or does your music ever inspire your art?

thIIIrd: Of course! Sometimes when I’m looking for ideas for visuals for a track, I’ll put it on and something usually comes up in my head. I’ve also been playing with the idea of making tools that synthesize visuals and audio at the same time. Exploring the interconnectedness of sound and visuals is always a lot of fun.

Human FK: Do you picture the same audience when you think of the audience listening to your music and the audience participating in your art?

thIIIrd: I feel like in some sense my video and my audio explore similar themes through different mediums. Synchronizing the two has usually lead me to good results as well. They each bring in their own audience, but also might lead people to pick up the other.

Human FK: How often do you listen to your own music?

thIIIrd: That’s a good question… I usually like to do that when I’m devising ways to make the process of making music go by more quickly and flexibly. I also do it when I am looking for ways of defining myself. It’s nice to go all over the map all the time, but eventually it can be good to explore certain themes a little more. That way you can dive further into them and see a lot more.

Human FK: Would you consider any of the tracks on your Isosceles EP as “singles?” If so, which ones?

thIIIrd: They’re all equals. It was hard having to put some before the others.

Human FK: What draws you to create the other-worldly, geometric, and psychedelic landscapes of your music videos?

thIIIrd: I love the idea of using simple geometry along with ideas like recursion and motion to evoke feelings nonrepresentationally. I also enjoy robotic, sci-fi, and psychedelic subjects.

Human FK: Where is the vocal sample from on ”Soma” of your Isosceles EP?

thIIIrd: “Soma” actually doesn’t use any samples, that’s me singing put through a softsynth vocoder. (Author note: It sounds great.)

Human FK: Is there a central theme to Isosceles? Can you speak about it as a complete body of work?

thIIIrd: Well, it’s mostly a collection of songs throughout the years (2008-2011) that I put together as my first release. My selection of these songs were based on which ones followed common themes. I liked ones that were oceanic and relaxing while still being intense, spastic, and glitchy. I really like the fusion of different sides of the spectrum, and I intend to explore that more in a good deal of my work.

Human FK: Where would you like to take your art and music in the future?

thIIIrd: I like the idea of making art out of code using interaction and generative methods. I’ve been making the kind of software that people can be creative with themselves. When people interact with Morphoh I think of increasing the flexibility of the program and making it something between a tool and a toy: something anyone can sit around and mess with but also use to make full-fledged creative works.