@ -63,7 +63,9 @@ These tools don’t succeed because they’re inherently powerful—they succeed
.HEADING 2 "Why Sound Design?"
.PP
Alternative tunings challenge the defaults embedded in our musical culture. The twelve-tone equal temperament that many accept as “correct” reflects a historical compromise—a flattened framework imposed on what should be fluid and expressive. By exploring alternative tunings, I push myself to think in a different language, to question ingrained habits and assumptions about harmony, consonance, and the boundaries of musical space.
Alternative tunings challenge the defaults embedded in our musical culture. The twelve-tone equal temperament that many accept as “correct” reflects a historical compromise—a flattened grid imposed on what should breathe and bend. By exploring alternative tunings, I push myself to think in a different language, to question ingrained habits and assumptions about harmony, consonance, and the boundaries of musical space.
.PP
This approach reflects a broader ethos found in technology and art. Open, modular, and reprogrammable systems—like the NixOS operating system, privacy-focused currencies such as Monero, mesh networks like Freifunk and NYCMesh, and creative tools like SuperCollider—embody a commitment to autonomy and adaptability. IDM artists frequently engage with these technologies, modifying or creating tools to fulfill needs unmet by commercial platforms. This work depends less on resources than on vision, curiosity, and a refusal to accept prescribed limitations. Empowerment comes from access and the freedom to reshape one’s tools—and through that process, new ways of thinking emerge. This gradual transformation is the foundation of a culture that operates independently of gatekeepers and corporate control. This isn’t utopian. It’s already happening. Where will you be?
This approach reflects a broader ethos found in technology and art. Open, modular, and reprogrammable systems—like the NixOS operating system, privacy-focused currencies such as Monero, mesh networks like Freifunk and NYCMesh, and creative tools like SuperCollider—embody a commitment to autonomy and adaptability. IDM artists frequently engage with these technologies, modifying or creating tools to fulfill needs unmet by commercial platforms. This work depends on vision, curiosity, and a refusal to accept prescribed limitations. Something that corporations can never buy. Real agency begins with access—and from the ability to reprogram our tools, we learn how to reprogram our thinking. That transformation is already shaping a culture that lives independently of the State and beyond the reach of platform control. This isn’t a dream. It’s already underway.
